1^1 


Et'Hj 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


Cgpgrapljia; 


OR, 


THE  PRINTER'S  INSTRUCTOR: 


A    BRIEF    SKETCH    OP    THE 


ORIGIN,  RISE,  AND  PROGRESS 


©jpgnipjiic  ^rt 


PRACTICAL  DIRECTIOXS  FOR  COXDUCTIXG  EVERY  DEPARTMENT 
L\  AX  OFFICE, 

HINTS  TO  AUTHORS,  PUBLISHERS,  &c. 


By  THOMAS   F.  ADAMS, 


T  Y  P  0  G  H  A  P  II  E  R. 


PHILADELPHIA : 
PUBLISHED    BY   L.  JOIIXSOX  c^   CO. 


EnterixJ  awording  to  Act  of  Congress,  in  the  year  1845,  by 

JAMES  KAV,  Jl\.,  &  BROTHER, 

In  tho  Clerk'fl  Office  of  the  District  Court  of  the  United  States,  in  anJ   for  th« 

Eastern  District  of  Pennsylyania. 


PREFACE. 


In  presenting  another  edition  of  our  Work  for  public  favor, 
we  cannot  forego  the  opportunity  of  acknowledging  our  obli- 
gations to  the  Profession,  for  the  very  liberal  and  flattering  testi- 
monials of  their  approbation  heretofore  extended  us,  as  well  as 
to  those  who  have  taken  so  warm  an  interest  in  the  appearance 
of  the  present  edition. 

Very  many  of  the  works  heretofore  published  on  this  subject, 
in  a  practical  point  of  view,  have  been  little  else  than  reprints 
of  old  Grammars,  chiefly  of  Smith's,  published  in  London, 
1755;  although  we  have  in  many  instances  adopted  the  lan- 
guage of  our  predecessors,  still  we  have  in  general  not  only 
compressed  the  information  contained  in  it,  but  have  in  all  cases 
made  it  subservient  to  our  own  views  and  experience. 

Among  the  numerous  additions  which  have  been  made,  and 
which  now  appear  in  print  for  the  first  time,  we  would  direct 
attention  particularly  to  the  articles  on  Gold,  Bronze,  Card  and 
Xylographic  printing,  and  last,  though  not  least  in  importance, 
the  printing  of  Wood  Engravings,  a  branch  which  when  pro- 
perly executed  is  eminently  calculated  to  elevate  the  art  in 
public  estimation,  and  to  secure  for  the  best  productions  exteu- 
sive  patronage  as  works  of  Art.  Until  recently  but  little  atten- 
tion has  been  bestowed  upon  it  in  this  country,  and  as  the 
attention  of  the  profession  has  now  been  turned  to  it,  we  have 
thought  proper  to  make  our  observations  on  the  subject  llill  and 
comprehensible. 

The  Literati,  and  in  fact  every  one  in  any  way  connected 
with  the  publisliing  and  printing  business,  will  find  suitable 
directions  for  their  guidance  in  preparing  copy,  making  ("alc!.!- 
lations.  corrections,  Sec.  kc. 


The  practical  directions  for  conducting  every  department  in 
an  oflice,  will,  we  trust,  be  found  n:iore  complete  than  any  here- 
tofore published,  giving  all  the  necessary  information  for  Com- 
posing, Imposing,  Fine  Presswork,  Ornamental  Printing,  and  a 
minute  account  of  the  best  modes  of  making  and  managing 
composition  rollers. 

In  our  endeavours  to  furnish  the  Profession  with  an  Assist- 
ant, we  have  lorne  in  mind  tlie  wants  of  beginners,  and  ma}-, 
perhaps,  in  some  instances  be  charged  with  unnecessary  pro- 
lixity ;  but  we  think  it  is  better  to  lay  before  the  general  reader 
information  which  he  already  possesses,  than  to  withhold  sucn 
minutiae  from  the  rising  generation,  who,  by  a  proper  apprecia- 
tion of  it,  and  attention  to  business,  may  become  ornaments  to 
the  profession  they  have  embraced. 


CONTENTS. 


PART   I. 

HISTORY    OF    THE    ART. 

America,  Printing  introduced  into 26 

Art  of  Printing  practiced  in  China  at  an  early  period    .         .     8 

Bibles  printed  in  1450 15 

Chinese  Printing  described 8 

Costei  of  Hasrlern,  supposed  inventor  .  .  ,  ,  10 
England,  Introduction  of  the  Art  into         .         .         .         .25 

Engraving,  Sketch  of 38 

Guttemberg  of  Mentz,  Testimony  in  favor  of  .  .  .16 
Invention  claimed  by  Hserlem,  Meritz,  Strazburg  and  Venice     9 

Ijithography,  Historical  sketch  of 33 

Medallion  of  the  acknowledged  Inventors  .  .  .  .23 
Newspaper,  first  in  North  America  ....  28 
Origin,  Rise,  and  Progress  of  the  Art         ....       7 

Stereotyping,  Sketch  of 32 

Strazburg,  Claims  in  favor  of 20 


Testimony  of  Ulric  Zell  in  favor  of  Mentz      ...         12 


PART  II. 

CHAPTER  I. 

PRACTICE    OF    THE    ART. 

Black  Letter 47 

Different  sizes  of  Printing  letters 47 

Irregular  bodied  Letter .  48 

Italic  Letter 45 

Practical  Instructor 43 

Properties  and  Shapes  of  Types 44 

Regular  bodied  Letter 48 

Roman  Letter .  44 

CHAPTER  11. 

LETTER    founders'    SORTS. 

Accented  Letters ^^ 

Apostrophe  .........  05 

Arithmetical  Figures 70 

r  V 


CONTENTS. 


A.scending  Letters       ...... 

Bill  of  Pica,  Roman  and  Italic 

Capitals  and  Small  Capitals        .... 

Descending  Letters  ..... 

Double  Letters    ....... 

Fount  of  Letter  as  considered  by  Letter  Founders 
Hyphen  or  Division  .... 

Kerned  Letters 
Long  Letters 
Lower  Case  Sorts    . 
Numeral  Letters 
Parentheses  and  Brackets 
Points  .... 

Q,uadrats  .... 

References 

Short  Letters 

Sorts  to  a  Bill  of  Pica,  Pvoman  and 

Spaces 


Italic 


50 
51 
54 

50 
50 
49 
62 
5() 
5^) 
58 
07 
04 
5S 
00 
55 
50 
53 
07 


CHAP.  III. 

RULES,    SIZES    OF    LETTER,    kC 

Braces     ...... 

(^'asting  off  Copy 

Flowers  ...... 

Fractions    ..... 

(iradation  of  Tvpes 

Leads  .        '. 

Metal  Rules  or  Dashes  . 

Nani'-s  of  L(;tter  and  ihiir  hi^arings  to  ea 

(iuotations  and  Hollow  (Quadrats    . 

Rul.'s 

Sparf-  Rules    ..... 
Sn])enijrs    ..... 
I'wu  Inie  Lf-tters     .... 


h  ot 


CHAP.  IV. 
on-ERVATio.vs  OS   roMPO^i.vr;,  fcc. 

(.'asc^  O'enr'rallv  u-t-d  in  t!if  T'iiit'-(1  Stat'-s 

Tiic  late  Far)  ."^taiih' ^pf's  plan,  and  Ri-uiark- 
T.  F.  Adams'  i)lau,  and  U'Uiark-^   . 

(  'oui|)'i-iii4    ........ 

Di-in!a;t!iiir       ....... 

LayiHir  (it  ( 'a<(  s  ....... 

(»l/-^iTva!iwn--  un  C'umposirig 


82 
70 
74 
Si 
70 
72 
7t 
75 
71 
73 
74 
70 


00,  01 

01.  00 

•<.  loo 

87 

.      11)2 

101 

.      105 

CONTENTS. 


CHAPTER  V 

IMPOSING,    &C. 


Imposing" 
Impositions 
Locking  up  Forms 
MaliLos:  Margin 


118.  J  75 

119.  1G8 
.       174 

171 


CHAPTER  VI. 


CORRECTORS    AND    CORRECTING. 


Celestial  and  Astronomical  Signs 

Correctors  and  Correcting 

Correcting  in  the  Aletal 

(xreek  and  Hebrew  Alphabets  and  Cases 

Letters  that  have  a  likeness  to  others  , 

Music      ....... 

Mathematical,  Algebraical,  and  Geometrical  Characters, 
Physical  Signs  and  Abbreviations  . 
Reader,  Department  of  a     . 
Typographical  Marks  and  Explanations 


198 

.       17(5 

182 

200.  209 

201) 

.       210 

195 

199 

188 

180 


178. 


CHAPTER  VII. 


overseer's  department 


Compositors'  and  Pressmen's  Check  Book 
Correcting         ...... 

Duty  of  an  Overseer      .... 

Expediting  Works  of  an  urgent  nature     . 

Imposing,  and  Distributing  Letter 

Job  Book,  plan  of    . 

Making  up, — Letter — Furniture    . 

Press  Book,  plan  of  .... 

Rules  and  Regulations  to  be  observed  in  a  P 
Rules  to  be  observed  in  Companionship 

Taking  Copy 

Transposition  of  Pages 


rinting  Office 


CHAPTER  VIII. 


THE    PRESS. 


( 'overing  Tvmpans 
niankets       '. 
l-'ini'  Printinsx 


221 
211 

218 
22:] 
215 
222 
21  S 
2ir, 
220 
221 » 
220 


2:^,0 
281 
24G 


CONTENTS. 


Ley  Trough  ...... 

Making  ready  a  Form       ..... 

Mixing  and  grinding  Colors  Avith  Varnish     . 
Ornamental  Printing — Card,  Gold,  Bronze,  &.c.  &.c 
Printing  Engravings  on  Wood 
Printing-  Red  or  other  colors  with  Black   . 
Pulling  ....... 

Rules  and  Remedies  for  Pressmen     . 

■letting  up  a  Press  and  Roller  iStand 

Welting  Paper 


228, 


CHAPTER  IX. 

INKING    APPARATUS. 

Balls — Knocking  up,  &.c.  ..... 

Composition  Rollers — Directions  for  making 

Preparing  tlie  Mould     . 

General  Directions  for  Working 

Skin  Rollers — to  Make 

Self  Inking  Apparatus  ...... 


245 
235 
257 
252 
251 
255 
210 
243 
229 
231 


258 
2GU 
2(34 
2G5 
259 
206 


CHAPTER  X. 

IMPROVKD    PUESSES. 


j\d;iins's  Pniver  Press 
CiiliiMiliiaii  I'ress    . 
Ifi.-'s  Sin;:!. ■-Cylinder 
.Marliiui'  -lid)  Presses 
Marliiiie  ]'rlutin<^ 
I^'iiiitli  I're.ss  . 
\\'ashin<:ton  Press     . 


'J7I 

2l>7 
270 

2C)'.) 
2f)y 
'ids 


CHAPTER  XI. 

■\VAllF.HOrSF,    T1KPAHTMENT. 

( 'niinling  out  and  Putting  hy  sheets 
["'illiiiLT  in  and  Pressing  sheets 
(  ;i\  ini:  nut  Pap'T  to  wet    .... 
I  liUiL'-inL:  lip  J'aper  to  dry      .... 

Si/i  •-  of  I'ap.'r  as  made  tiy  Machinery 
Tiilxini:  dnwn  sli.t'ls  \vh<ii  dry 
\\;ii-,h<.UM'  I'.dok        .  .        ■    . 


'I'ridiiiii'iil  'I'rrnis    . 

'\\l\,\t'    nl'     I'rnpi.rlintlS    l.f    'I'vpC 


280, 


279 

278 
275 
27G 
279 
277 
274 

282 
28G 


OlllGIN,  RISE,  AND  PilOGRESS, 

OF  THE 

TYPOGRAPHIC    ART 


"  Th'  Inventor  of  this  noble  Art  to  find, 

Hns  long  engaj;'d  the  Antiquary's  mind  ; 

To  question  dates,  on  books  and  records  jx>re, 

To  draw  the  veil  Obscurity's  cast  o'er  ; 

Vain  are  his  eflbrts,  'tis  beyond  his  might, 

To  fix  in  truth,  on  man,  or  place  the  right: 

Doubts  still  exist  to  whom  the  palm  is  due, 

Partisans  for  each  their  claims  pursue  : 

But  metal  types  the  honor  all  confer, 

Ou  both  Uie  Ciuttembcigs,  Faust  and  Schceffcr. 


This  noble  invention,  which  is  one  of  the  greatest  blessings 
heaven  has  bestowed,  cannot  fail  exciting  a  considerable  degree 
of  interest  in  the  rising  generation,  to  be  informed  when,  and  by 
whom,  it  was  first  discovered,  and  brought  into  general  use. 
Though  printing  be  considered  a  modern  invention,  it  is  allowed 
to  have  been  practised  in  the  East  from  a  very  early  period,  in  a 
similar  manner  to  our  first  essays.  It  has  been  contended,  that 
the  remoteness  and  seclusion  of  the  Chinese  prevented  our  gain- 
ing any  information  from  them :  but  Mr.  W.  Y.  Ottley,  and  Mr. 
8.  W.  Singpr,  concur  in  opinion,  that  the  art  of  engraving  in 
wood  was  known  in  Europe  in  the  thirteenth  century:  that  it 
was  brought  from  Asia  by  the  Venitian  merchants,  whose  in- 
tercourse with  that  territory  was  frequent,  by  way  of  Constanti 
nople,  from  a  very  early  period.  As  to  the  silence  of  Marco 
Polo  upon  this  subject,  in  his  account  of  the  marvels  he  had 
witnessed  in  China,  having  resided  at  the  court  of  the  great  Chan 
of  Tartary  for  seventeen  years,  1295:  Mr.  O.  conceives  that 
ihp  author  thought  it  of  little  int^'rest,  as  the  art  had  b'-en  long 
pr;i.ctised  in  Venice.  Many  writers  have  ascribed  this  invpiiiinu 
to  ;ui  onrlier  period  than  the  Christian  era;  Fatlif^r  Couplet 
"-'au-s  tht^"  vear  930;   Father  du   IIald<'  tixp->  it  tiftv  V'";'.r:"  nri  n 


8  TYPOCaiAPHIA. 

to  the  former  period,  under  the  reign  of  Ming  Tsong  I,  the  se- 
cond Emperor  of  the  Tartarian  dynasty :  and  Father  le  Compte 
contends,  that  it  has  been  practised  in  China  from  all  ages :  he 
adds  tliat  the  only  difference  between  the  European  and  Chi- 
nese methods,  consist  in  tlie  former  being  able,  from  the  small 
number  of  letters  in  their  alphabet,  to  print  voluminous  works, 
the  letters  of  the  first  sheet,  from  a  re-arrangement,  serving  for 
all  the  succeeding  ones:  whereas,  from  the  prodigious  number 
of  characters  in  the  Chinese  alphabet,  (some  accounts  state  them 
at  eighty  tliousand)  they  contend  that  it  is  much  easier  and  less 
expensive  to  have  their  pages  cut  on  wood  ;  thus  having  as  many 
blocks  as  there  are  leaves  in  the  book.  Father  du  Halde  gives 
the  following  particulars  relative  to  Chinese  printing: 

"  The  "work  intended  to  be  printed  is  transcribed  by  a  careful 
writer  upon  a  thin  transparent  paper:  the  engraver  glues  each 
of  these  Avritten  sheets,  with  its  face  downwards  upon  a  smooth 
tahl'.'t  of  pear  or  apple-tree,  or  some  other  hard  wood  ;  and  then, 
with  gravers  and  other  instruments  he  cuts  the  wood  away  in 
all  those  parts  upon  w4iich  he  fmds  nothing  traced  ;  thus  leaving 
tlie  transcribed  characters  ready  for  printing  :  in  this  manner  he 
prepares  as  many  blocks  as  tiiero  are  written  pages.  He  then 
prints  the  number  of  copies  immediately  wanted  ;  for  he  can  al- 
ways print  morr,  if  thf^'  are  required,  without  the  labor  of  re- 
cuiiiposition  necessarv  in  typography:  nor  is  any  time  lost  in 
correcting'  the  proof  sheets,  for,  as  he  is  guided  in  his  enara\ing 
by  the  strokes  of  the  written  copy,  or  perhaps  the  ori^'inal  oftlie 
author  himself,  it  is  impossible  for  liim  to  make  any  mistakes. 
II  the  cripv  is  Vv'ritten  "with  exactness.  Wiien  once,  howe\'(  r. 
the  hliifks  are  enoraved,  the  paper  is  cut,  and  the  ink  i>  ready, 
fill''  man  witii  liis  brush  can.  without  fatigue,  print  ten  thou-aiK* 
>hecis  in  a  dav.  The  block  to  be  printed  must  be  placed  Jevi-l, 
and  firiiilv  li\''d.  I'he  man  must  have  two  brushes,  one  of  tlien 
of  a  stilfer  kind,  wiiii-h  lie  can  hold  in  h\<  hand,  and  u<e  at  eiihe; 
end.  1  le  dip^  it  iiiKi  the  ink.  and  riilis  the  Mo^-k  with  it ;  tal^ini. 
can'  nut  10  w<-{  it  l('  i  inuch.  or  In  l^avc  it  too  dry  :  it' it  Witi-  wi-itc 
t"ii   niueh,   th<'   chararier^   wniilij   })•■   slurfd  ;   if  Ino   lirt'f,   the\ 

^\'||Ill(l    nut    pi'llU.       W'hrll     t!l"    hl'.ek    i<    (Hiei-    ^:,t    i:i!()    a    prnpe- 

t'lai''.  lie  I  an  print  t'lree  r<r  (.■■u'  -iif-.  ]-.  tollo\vin_r  v.'niiout  ilippiui. 


TYPOGRAPHIA.  9 

his  brush  into  the  ink.  The  second  brush  is  used  to  rub  over 
the  paper,  with  a  small  degree  of  pressure,  that  it  may  take  the 
impression:  this  it  does  easily,  for,  not  being  sized  with  alum,  it 
receives  the  ink  the  instant  it  comes  in  contact  Avith  it.  It  is 
only  necessary  that  the  brush  should  be  passed  over  every  part 
of  the  sheet  with  a  greater  or  smaller  degree  of  pressure,  and  re- 
peated in  proportion  as  the  printer  finds  there  is  more  or  less 
ink  upon  the  block.     This  brush  is  soft,  and  of  an  oblong  form." 

The  discovery  of  Printing,  having  been  made  so  lately  as  the 
fifteenth  century,  it  is  matter  of  surprise  that  no  certain  record 
has  been  handed  down  fixing  the  precise  time  when,  the  person 
by  whom,  and  the  place  whence  this  Art  received  its  birth.  The 
abilities  of  the  literary  Antiquaries  of  different  nations  have  been 
called  forth,  in  order  that  the  palm  may  be  ceded  to  those,  who 
not  only  merited  so  well  of  their  own  country,  but  also  of  every 
other  portion  of  the  civilized  globe.  These  researches  have  not 
satisfactorily  determined  the  point;  the  affair  still  remains  in- 
volved in  a  certain  degree  of  mystery  j  although  it  must  be 
admitted,  that  great  probability  appears  in  the  theories  of  some 
of  those  who  have  investigated  this  difficult  subject. 

Two  reasons  may  be  assigned  for  this  obscurity;  viz.  the 
imperfect  state  of  printing  while  it  remained  in  the  possession  of 
its  inventor.  2d.  Pecuniary  motives  induced  the  first  printers 
(from  the  large  sums  which  were  usually  paid  for  manuscripts) 
to  sell  their  works  as  such ;  so  that  printing  was,  for  a  period,  as 
much  the  counterfeit  as  the  substitute  for  writing,  it  being  a 
facsimile  of  the  most  approved  Scribes.  The  few  persons  con- 
cerned kept  the  art  a  secret  for  some  time,  till  their  funds  not 
being  sufficient  to  answer  the  necessary  expenses,  these  inge- 
nious men  were  thus  compelled  to  associate  with  persons  of 
property,  from  the  union  of  whose  names  a  degree  of  doubt  has 
arisen  to  whom  the  merit  really  belongs. 

A  competition  for  this  distinguished  honor  now  took  place 
between  Ilaerlem,  ]\Ientz,  Strazburg,  and  Venice;  partizans 
arose  in  favor  of  Laurensz  Jansz  Coster,  of  Ilaerlem;  Johu 
Guttemberg  and  others  of  Mentz ;  Guttemberg  and  Mentilius, 
of  Strazburg;  and  Nicolas  Janson,  of  Venice;  others  ascribing 
thp  disrovery  to  John  Guttemberg,  or  Goinsfleicli,  junior. 


iO  TYPOGRAPHIA. 

Tlie  chiiiiis  of  Laureiuius  Coster,  of  Ilacrlem,  depend  princi- 
pally on  the  authority  of  the  celebrated  historian  of  Holland, 
Hadrianus  Junius,  or  Adrian  Young,  who  took  up  his  residence 
at  IIa"ideni  in  150U.  He  died  1575,  having  just  finished  his 
work  intituled  *•  Batavia,"'  which  appeared  in  157S,  and  from 
Avhich  it  is  considered  that  all  Coster's  partizans  have  taken 
their  ground  of  argument.  The  following  particulars,  supposed 
to  have  been  written  in  15GS,  he  states  were  related  by  his  tutor, 
Nicholas  Galius,  an  old  gentlemen  of  very  tenacious  memory, 
who  stated,  that  when  a  boy,  he  had  often  heard  one  Cornelius, 
a  bookbinder,  (then  upwards  of  eighty  years  of  age,  who  had, 
when  a  youth,  assisted  at  the  printing  office  of  Coster.)  describe 
with  great  earnestness  the  numerous  trials  and  experiments 
made  by  his  master  in  the  infancy  of  the  invention :  when  he 
came  to  that  part  of  his  narrative  touching  the  robbery,  he 
would  burst  into  tears,  and  curse,  with  the  greatest  vehemence, 
those  nights  in  which  he  had  slept  with  so  vile  a  miscreant; 
and  that,  were  he  still  alive,  he  could  with  great  pleasure 
execute  the  thief  with  his  own  hands.  Junius  states  that  he 
received  a  similar  account  from  Q,uiriuus  Talesius,  the  Burgo- 
master, who  declared  that  it  was  recited  to  him  by  the  said 
Cornelius : — 

"About  120  years  ago,  Laurence  Zanssen  Coster,  inhabited 
a  decent  and  fashionable  house  in  the  city  of  Ilaerlem,  situated 
on  the  market-place,  opposite  the  royal  palace.  The  name  of 
Coster  was  assumed,  and  inherited  from  liis  ancestors,  who  had 
long  eiijijved  tlw*  honorable  and  lucrative  office  of  Coster  or 
^I'Xton  to  tiie  cliurch.  Tliis  man  deserves  to  be  restored  to  the 
hnndf  of  b'ing  the  first  inventor  of  printing,  of  which  he  has 
liff-n  unjustly  deprived  by  others,  wlio  have  enjoved  the  praises 
(I 111-  to  him  alone.  As  he  was  walking  in  x\w  wood  rontiiruuus 
V>  til.'  riiv,  wiiiidi  wa^  the  fr'-ncral  custom  of  the  richer  citizens 
and  iiifu  of  hi-ure.  in  the  at'tcrnoon  and  on  holidays,  he  liegan 
\n  f\\[  1,-ttir-;  on  the  b:irk  of  the  beecii  ;  with  tlK'Se  letters  ie 
(•ii^t:i!iipi'il  inailv's  upon  paper  in  a  contrary  direction,  in  the 
manm  r  i.f  a  s-  al :  until  at  Icnirth  he  formed  a  few  lines  for  his 
fi\vn  ninii-i'iMtiit.  ami  fir  tlif  i;se  of  tho  children  nf  his  brotlifr- 
\n  \-[\v.     '\'\\\<  <iir,'iM'duvj:  so  wi-11,  he  a1temi)t((]  greater  things; 


TYPOGRAPHIA.  11 

# 
and  beiag  a  man  of  genius  and  reflection^  he  invented,  with  the 
aid  of  his  brother  or  son-in-law,  Thomas  Pietrison,  a  thicker 
and  more  adhesive  ink,  as  the  common  ink  was  too  thin  and 
made  blotted  marks.  With  this  ink  he  was  able  to  print  blocks 
and  figures,  to  which  he  added  letters.  I  have  seen  specimens 
of  his  printing  in  this  manner :  in  the  beginning  he  prmted  on 
one  side  only.  This  Avas  a  Dutch  book,  entitled  Spiegal  enser 
Bchoudeiiisse.  That  it  was  one  of  the  first  books  printed  after 
the  invention  of  the  art,  appears  from  the  leaves,  which  are 
pasted  together,  that  the  naked  sides  miglit  not  be  offensive  to 
the  eyes ;  and  none  at  first  were  printed  in  a  more  perfect 
manner.  As  this  nev/  species  of  traffic  attracted  numerous 
customers,  thus  did  the  profits  arising  from  it  increase  his  love 
for  the  art,  and  his  diligence  in  the  exercise  of  it. 

"  He  engaged  workmen,  which  was  the  source  of  the  mis- 
chief.    Among  these  workmen  was  one  Jan ,  whether  his 

surname  be  that  of  Faust,  or  any  other,  is  of  no  great  importance 
to  me  5  as  I  will  not  disturb  the  dead,  whose  consciences  must 
have  smote  them  sufficiently  while  living.  This  Jan,  who 
assisted  at  the  printing-press  under  oath,  after  he  had  learned 
the  art  of  casting  the  types,  setting  them,  and  other  articles 
belonging  to  the  art,  and  thought  himself  sufficiently  instructed, 
iiaving  watched  the  opportunity,  as  he  could  not  find  a  better, 
he  packed  up  the  types  and  the  other  articles  on  Christmas  eve, 
while  the  family  was  engaged  in  celebrating  the  festival,  and 
stole  away  with  them.  He  first  fled  to  Amsterdam,  thence  to 
Cologne,  until  he  could  establish  himself  at  Mentz,  as  a  secure 
place,  where  he  might  open  shop,  and  reap  the  fruits  of  his 
knavery.  It  is  a  known  fact,  that  within  the  twelve  months, 
that  is,  in  the  year  1440,  he  published  the  Alcxandri  Galli 
Dor.tiiaale,  a  grammar  at  that  time  in  high  repute,  with  Petri 
Jlispaiti  Tractatibus  Logicis,  with  the  same  letters  which 
fiaurens  had  used.  These  were  undoubtedly  the  first  products 
uf  his  press.  These  are  the  principal  circumstances  that  I 
have  coUpcted  from  creditable  persons  far  advanced  in  year^, 
winch  they  hav(^  transmiucd  lik'.^  a  llnniitig  torch  f'r:iia  liauu 
tu  haiul :  I  have  also  met  with  others  v/bo  hav^^  cor.firincd  t!ie 
-:nn!\"  S..c.  6vC 


12  TYPOGRAPHIA. 

Ulric  Zell,  father  of  the  Cologne  press,  was  a  native  vl' 
Germany,  and  is  said  to  liave  gained  his  knowledge  of  the  art  at 
Mentz.  In  the  Cologne  Chronicle  of  1499,  he  gives  the  follow- 
ing testimony: 

"  Item  :  This  most  revered  art  Avas  first  discovered  at  Mentz, 
in  Germany  j  and  it  is  a  great  honor  to  the  German  nation,  thai 
such  ingenious  men  Avere  found  in  it.  This  happened  in  the 
year  of  our  Lord  mccccxl;  and  from  that  time,  till  the  year 
MccccL,  the  art,  and  what  belongs  to  it,  was  rendered  more 
perfect.  In  the  year  of  our  Lord  mccccl,  which  was  a  golden 
year,  then  men  began  to  print,  and  the  first  book  printed  was  a 
Bible  in  Latin,  and  it  was  printed  in  a  larger  character  tlian  that 
with  which  men  now  print  mass-books.  Item:  although  tliis 
art  was  discovered  at  Mentz  at  first,  in  the  manner  in  whicli  it 
is  now  commonly  used,  yet  the  first  example  of  it  was  ibund  in 
Holland,  in  the  Donatuscs  which  were  before  printed  there. 
And  thence  is  derived  the  beginning  of  this  art,  and  it  is  more 
masterly  and  subtle  than  the  ancient  manner  was,  and  by  far 
more  ingenious:  but  the  first  inventor  of  printing  was  a  citizen 
of  Mentz,  and  was  born  at  Strasbourg,  and  Avas  called  John 
Gudcnburch.  Item:  from  Mentz,  the  before-mentioned  art  first 
came  to  Cologne,  thence  to  Strasbourg,  and  thence  to  Venice. 
The  beginning  and  progress  of  the  before-mentioned  art  was 
told  me,  by  word  of  mouth,  by  the  worthy  man.  Master  Ulrich 
Tzell  of  llanault,  printer  at  Cologne,  in  the  present  year 
Mccccxnx — by  whom  the  fore-mentioned  art  is  come  to 
( 'oloijiK'." 

Sciicr[)flin  asserts,  that  Peter  de  Olpe,  not  U.  Zcli,  was  th<- 
(ir^t  (^'oldirne  ]irintor:  Mr.  Dihdin  sali.^factorily  answers  him, 
and  jjnivcs  that  Zell  printed  th('r(>  in  1  10*'i,  four  years  prior  to 
Olpe.  "  T'pon  thi>  whoh'."  observes  Mr.  1).  "the  evidence  of 
dric  Zcl!  aiipcars  to  be  as  honi'st  as  it  is  curious." 

Th<  o.  \'iilrhai-t  <  'oornhcrt,  in  his  translaliouof  C/rmr.s  Oft'icva, 
wliii'li  is  (Icilirated  to  the  I'liro-ninaster'-.  .Tudi^es.  and  Senators 
of  Il.-iiTlein,  l."»i>l.  oli'-eives.  Hue  .Tiiniiis,  that  he  writes  iijjon  the 
authoritv  ol 

•■  A^'ed  j)rr.-,.n';  of  tii(>  hiiilie.^i  ve^pectaliility  ami  credit,  who 
iiad   repeateillv   inloviued   hiiii.   not    onlv  of  the  faiuilv  of  \\\( 


TYPOGRAPHIA.  13 

inventor,  and  of  liis  name  and  surnafne,  but  also  concernuig  the 
rude  manner  of  printing  which  he  at  first  practised,  and  tiie 
place  of  his  residence,  which  they  had  often  pointed  out  to  hnn 
with  their  fingers." 

Ludovico  Guicciardini,  by  birth  an  Italian,  in  his  Dcscrizione 
di  tutti  i  Paesi  Bmsi,  written  1565,  and  printed  at  Antwerp, 
in  the  year  15G7,  gives  the  following,  in  support  of  the  claims 
of  Haerleni : 

"'  According  to  the  common  tradition  of  the  inhabitants,  and 
the  assertion  of  other  natives  of  Holland,  as  well  as  the  testimony 
of  certain  authors  and  other  records,  it  appears  that  the  art  of 
printing  and  stamping  letters  and  characters  on  paper,  in  the 
manner  now  used,  was  first  invented  in  this  place:  but  the 
author  of  the  invention  happening  to  die  before  the  art  was 
broLigh.t  to  perfection,  and  had  required  repute,  his  servant,  thev 
say,  went  to  reside  at  Mentz;  where,  giving  proofs  of  his  know- 
ledge in  that  science,  he  was  joyfully  received ;  and  where, 
having  applied  himself  to  the  business  with  unremitting  diligence^ 
it  became  at  length  generally  known,  and  was  brought  to  entire 
perfection;  in  consequence  of  which,  the  fame  afterwards  spread 
abroad  and  became  general,  that  the  art  and  science  of  printing 
originated  in  that  city.  What  is  really  the  truth,  I  am  not  able, 
nor  will  I  take  upon  me  to  decide;  it  sufficing  me  to  have  said 
tliese  few  words,  that  I  might  not  be  guilty  of  injustice  towards 
this  town  and  this  country." 

That  Laurentius  Coster  carried  the  art  no  farther  than  separate 
wnoden  types,  appears  from  a  Dutch  poem,  intituled  Hertspics:cd. 
published  in  the  sixteenth  century,  by  Henry  Spiechal,  \\\\r. 
exclaims : 

'''Thou  first,  Laurentius.  to  supply  the  defect  of  wooden 
tablets,  adaptedst  wooden  types,  and  afterwards  didst  connect 
them  witli  a  thread,  to  imitate  writing.  A  treacherous  servant 
surreptitiously  obtained  the  honor  of  the  discovery :  but  truth 
itsfdf,  though  destitute  of  common  and  wide-spread  fain^;  truth, 
I  "^av,  still  remains." 

'I'her!'   i';   no  mention  in  this   poeui.  of  metiil  tv].ie.:: ;  had   n- 

liecii  rchlied   erihe-^r.n>   well   ;i<  of  woodm   OU'  .-■. --ucli   ;i   fitinUU 
L-t.lIl'^r    enuM   not   liave  lur^n   )-|,l-'~e(l   ox-:]    \\^   ■  il.'lr'"' 


14  TYPOGRAPHIA. 

That  the  rough  specimens  Avith  whicli  Laurentius  amuseii 
himself,  should  be  discovered,  at  the  distance  of  three  centuries, 
appears  almost  improbable;  yet  John  Enschedius,  a  printer, 
discovered  an  old  parchment  Horarium,  printed  on  both  sides, 
in  eight  pages,  containing  The  Alphabet,  The  Lord's  Prayer, 
The  Apostles'  Creed,  and  three  short  prayers,  which  he 
imagines  to  be  the  first  productions  of  Laurentius.  Mr.  Meer- 
man  submitted  this  to  artists,  (competent  judges,)  who  gave  as 
ili'ir  opinion  that  it  exactly  agreed  with  the  description  of 
Junius:  it  also  corresponds  with  tlie  first  edition  of  the  Dutch 
Sjiecnhfjn  Salvalionis,  and  tlie  fragment  of  the  Holland  Donalus, 
which  are  said  to  have  l^een  the  productions  of  Laurentius,  and 
are  specimens  of  his  piety  and  ingenuity,  in  tliis  essay  of  his 
newly  invented  art.  Mr.  Meerman  has  given  an  exact  engraving 
of  this  singular  curiosity. 

Having  touched  upon  the  principal  arguments  in  favor  of 
llaijrloni,  we  shall  proceed  to  give  tliose  which  refer  to  Mentz  : 

It  is  genrrally  affirmed  that  John  Geinfleis'^h,  sen.  came  to 
Mentz  in  1141,  and  it  is  conjectured  that  he  brouo'ht  with  him 
SxjHie  of  the  wooden  tvpes,  the  properly  of  Laurentius  Coster 
of  Ha'Tli'iu,  where  it  is  stated  that  he  had  been  employed,  and 
llieve  ](  arned  the  art  and  myst'^ry  of  printing.  In  th"  frillnwine 
var,  111-2,  Vv'e  are  intbrmed  that  he  gave  stnavz  proofs  of  lii< 
indii-irv,  bv  the  {ircluction  rif  tv/o  small  works,  intituled, 
,l!i.rnii'!ri  C'lilli  DdrtriiiiiJc.  and  Petri  Hisjinnl  Trnrffifiis  : — thcsr' 
\„i':]'_r  boc];s  inucli  used  in  school'^,  he  had  eviTy  reason  to 
t\-|i'i't  tiiat  they  would  meet  with  a  profitaMe  salr>.  togpth^r 
v>  ith  a  futur*^'  prospect  of  success  in  his  new  en;erpri-r>. 

In  1  Mo.  hf^  en:;aa'ed  tlie  hnu'^e  Zmn  Jinicrai,  wli'-n  in^  was 
UMiifd  bv  Fau-t:  sr.nn  ai'tiT,  J.  MeiiU-nhachius  and  oiiirT^  were 
a(bniU'd  partHf-rs;  !)ut  tlieir  names  are  not  iran.^mittr'd  to  our 
tiin'"^.  Tn  bM  1.  thf-v  were  joined  by  (luttcnib<-rz.  who  is  said 
til  irav  nndi'  iintbi'tiial  atJiiiipts,  bir  Sl•^'l■ral  \'(ar-.  to  pr  rr"ct 
lb"  ;:rt  at  ^'tra/biiro'.  Tii' -'•  iii::<  iii' "i^  i-vn  at  !ii!2''b  il!-i"''-.i'eri'd 
thar   ill"  W' -III  11   i\"ji<  v.-'V  niif  stifilciiiiil',    iliiraM".  roid   net 

:,l;i,-r.ty,.l-  ;)!i-.\',-i  rii:::  ':;'  if  i'--:  p^ct:!!  i-n    in   et!ii  r  ri  ■  ;i"i't-.  till'  two 

brd!;' r^    i'-iiii:!'r;i"iil    cnt'inz    m"t:il    t\";i's;   w'i.l"    t'li--"   were 
pr.jiarir:^.  tbev  pnritcd    -■  v-ral  b'H.k<  n\   t'riqii>-iii    ii--.  -im  h  as 


TYPOGRAPHIA.  15 

the  Tabula  Alphahetica,  the  Calliolicon,  tlie  Doiuili  Grammalicu, 
and  the  Confessionalia :  these  were  printed  with  separate  wooden 
types  and  wooden  blocks. 

To  commence  printing  an  edition  of  The  Bible  in  this  early 
stage  of  the  art,  must  be  acknowledged  by  all  as  a  most  asto- 
nishing and  wonderful  undertaking ;  it  was  printed  with  large 
cut  metal  types,  and  published  in  1430:  if  we  consider  the 
unmcnse  lalior  of  this  work,  it  is  no  wonder  that  it  should  be 
seven  or  eight  years  in  completing.  This  year  the  partnership 
was  dissolved;  in  August,  Faust  and  Guttemberg  entered  into 
a  new  agreement,  the  former  supplying  money,  the  latter  skill, 
for  their  mutual  benefit.  Various  difficulties  arising,  occasioned 
a  law-suit  for  the  money  which  Faust  had  advanced :  the  cause 
was  decided  against  Guttemberg.  A  dissolution  of  partnersiiip 
ensued  in  1455;  in  1457,  a  magnificent  edition  of  the  Psalter 
was  published  by  Faust  and  Schosffer,  with  a  singular  commen- 
dation, in  which  they  assumed  to  themselves  the  merit  of  a  new 
invention,  (viz,  of  metal  types,)  ad  inventionem  artificlosam 
imp'imendi  ac  charaderizandi.  This  book  was  in  some  measure 
the  w^ork  of  Guttemberg,  and  at  that  time  considered  uncom- 
monly elegant;  it  was  four  years  in  the  press,  and  came  out  but 
eighteen  months  after  the  partnership  was  dissolved  between 
nim  and  Faust. 

John  Fust,  or  Faust,  a  goldsmith  of  Mentz,  was  one  of  the 
three  artists  considered  as  the  inventors  of  printing;  it  is  not 
certain  that  he  did  more  than  supply  the  money  for  carrying  on 
the  concern.  In  14G2,  Faust  carried  a  number  of  Bibles  to  Paris, 
which  lie  and  his  partner  Scliocfi'er  had  printed,  and  disposed  of 
tlieia  as  manuscripts;  at  this  time  the  discovery  of  the  art  was 
not  known  in  France.  At  first  he  sold  them  at  the  high  price 
of  500  or  600  crowns,  the  sum  usually  obtained  by  the  scribes: 
he  afterwards  lowered  his  price  to  sixty,  which  created  universal 
astonishment;  but  when  he  produced  them  according  to  the 
demand,  and  even  reduced  the  price  to  thirty,  all  Paris  became 
agitated.  The  uniformity  of  the  copies  increased  their  wonder, 
the  Parisians  considering  it  a  task  beyond  human  mvenlion  ; 
informations  were  given  to  the  police  against  him  as  a  mugi- 
rian;   his  lodgings  were  searched,   a  great  numlu-r  of  I'ihie-* 


16  TYPOGRAPHTA. 

were  found,  and  seized;  the  red  ink  with  which  they  were 
embellished  was  said  to  be  his  blood;  it  was  seriously  adjudged 
that  he  was  in  league  with  the  devil;  whereupon  he  was  cast 
into  prison,  and  would  most  probably  have  shared  the  fate  of 
such,  Avhom  ignorant  and  superstitious  judges  condemned  in 
those  days  for  witchcraft.  He  now  found  it  necessary,  in  order 
to  gain  his  liberty,  to  make  known  the  discovery  of  the  art. 
This  circumstance  gave  rise  to  the  tradition  of  "  The  Devil  and 
Dr.  Faustus,"  which  is  handed  down  to  the  present  time.  It  is 
uncertain  when  Faust  died,  he  was  at  Paris  in  14C6,  and  it  is 
strongly  conjectured  that  he  fell  a  victim  to  the  plague,  which 
then  raged  in  that  capital. 

Naude,  in  his  Mascurat,  contends  that  Faust  was  the  first 
printer  in  Europe,  and  that  he  took  in  Guttemberg  as  a  partner. 
He  grounds  his  argument  on  the  impressions  bearing  the  name 
of  Faust,  and  not  the  other  partners ;  whereas,  if  Guttemberg 
and  Coster  had  had  an  equal  share  in  the  invention,  they  would 
not  have  permitted  him  and  his  son-in-law  to  enjoy  the  honor, 
without  olTering  to  do  the  like,  or  even  asserting  their  own  right. 

J.  Trithemius,  in  his  history  of  the  year  1150,  gives  the 
following  particulars  relative  to  the  invention,  which  he  states 
to  have  received  from  the  mouth  of  Peter  Schtrller,  the  inventor 
of  cast  metal  tvpes : 

'■About  this  time  tliat  wonderful  and  almost  incredible  Art 
of  printing  and  cliaractcrizinir  books,  was  thought  of  and 
invented  at  ]\b'ntz.  by  .bihn  Guttemberg,  a  citizen  of  Meniz, 
who  liavino:  e.\[)ended  almost  all  his  sulistance  in  the  invention 
of  this  art,  and  struiZgHng  with  irreat  dilliculties,  both  respecting 
his  circum>tanres  and  the  impediments  wliich  arose,  was  ujion 
ihe  brink  of  reHiuinishinil  the  attempt;  but  he  coinj)leted  the 
nnilertakiiig  throu^'h  the  advice  and  pecuniary  assistance  of 
John  Faust,  aNo  a  ciii/en  of  Aleniz.  The'y  first  printed  a 
voiMlnihirv,  called  the  Ciilltullrnn .  with  the  characters  of  lettf-rs 
earvid  in  \s-oo(len  tablets,  in  a  serle<,  and  composed  in  forms, 
r.ut  as  these  couM  nut  >erve  fjr  any  other  purpose,  since  the 
characters  were  nr,t  niii\'eable  I'roni  the  talilets,  but  carved,  they 
afterwards  contrived  liettt  r  ni''th()d<.  and  invented  a  manner  ol 
lastinir  t!ie  t(inn<  of  all  the  |eu<-rs  in  the  T,atin  alphabet,  which 


TYPOGRAPHIA.  17 

ihoy  called  matrices,  from  which  they  again  cast  brass  and  iron 
cliaracters  capable  of  sustaining  any  pressure,  which  they  first 
cut  Avith  the  hand." 

The  person  who  discovered  the  method  of  casting  the  types 
and  completed  the  art  as  it  now  remains,  was  Peter  Schoefler, 
the  first  servant  of  Guttemberg  and  Faust,  who  became  son-in- 
law  to  the  latter;  these  three  kept  the  art  a  secret  for  some  time, 
till  at  length  it  was  divulged  by  their  servants,  whose  assistance 
was  required  in  the  concern. 

A  great  majority  of  German,  French,  and  Italian  authors,  are 
decidedly  of  opinion  that  the  discovery  was  made  in  Germany. 
That  printing  was  exercised  at  Mentz  at  an  early  period,  is  an 
incontrovertible  fact;  and  was  practised  there  by  several  persons, 
to  one  or  other  of  whom  this  invention  has  been  attributed.  It 
is  strange,  while  Mentz  is  priding  herself  upon  this  high  honor, 
the  citizens  are  not  agreed  to  whom  the  merit  is  due. 

Naude  observes,  that  the  person  is  not  yet  born  who  can  say 
that  he  has  seen  books  printed  by  either  Coster,  Guttemberg,  or 
Mentil,  before,  or  as  early  as  those  of  Faust,  all  that  can  be 
urged  on  their  behalf  being  founded  on  reports,  conjectures, 
probabilities,  forged  authorities,  and  the  jealousies  of  cities 
against  one  another. 

Salmuth  cites  a  public  act,  which  states  Faust  to  be  the 
inventor;  and,  after  sustaining  it  for  some  time,  he  at  length 
took  in  Guttemberg  as  a  partner,  to  contribute  towards  the 
expense,  which  was  great,  in  consequence  of  the  books  being 
printed  on  vellum,  after  the  Chinese  method. 

The  most  ample  testimony  in  favor  of  Schoeffer  is  given  by 
Jo.  Frid.  Faustus  of  Aschaffenburg,  from  papers  preserved  in 
his  family : 

"  Peter  Schccffer  of  Gernsheim,  perceiving  his  master  Faust's 
design,  and  being  himself  ardently  desirous  to  improve  the  art, 
found  out  (by  the  good  providence  of  God)  the  method  of 
cutting  (incidendi)  the  characters  in  a  matrix,  that  the  letters 
might  easily  be  sinfjly  cast,  instead  of  ho'in^  cut.  He  privatelv 
ciU  matrices  for  the  whole  alphabet;  and  when  he  showed  his 
master  the  letters  cast  from  those  matrices,  Faust  was  so  pleased 
with  the  contrivance,  mat  he  promised  PetrT  to  give  him  his 


18  TYPOGRAPHIA. 

only  daughter  Christina  in  marriage,  a  promise  which  he  soon 
after  performed.  Cut  there  were  as  many  difficulties  at  first 
with  these  letters,  as  there  had  been  before  with  wooden  onts; 
the  metal  being  too  soft  to  support  the  force  of  the  impression  ; 
but  this  defect  was  soon  remedied,  by  mixing  the  metal  with  a 
substance  which  sufficiently  hardened  it." 

Tlie  first  book  printed  with  the  improved  types  was  Durandi 
Rationale,  in  145'J;  however,  they  seem  to  have  had  only  one 
size  of  cast  letters,  all  the  larger  characters  which  occur  being 
cut  types,  as  it  plainly  appears  by  an  inspection  of  the  book. 
Faust  and  Scha-fTer  continued  to  print  a  considerable  number  of 
works  till  14CG:  particularly  two  famous  editions  of  Tidbfs 
Offices.  They  took  more  impressions  on  vellum  than  on  paptr 
in  their  earliest  works,  which  was  the  case  with  their  JBiLks  ami 
Thdhfs  Offices.  This  was  soon  inverted  j  for  paper  being 
introduced,  they  took  but  few  impressions  on  vellum,  Avhich 
were  more  for  curiosities  than  for  general  use.  How  long 
Faust  lived  is  uncertain;  but,  in  1171,  we  find  that  SchopfTrr 
was  in  partnership  witli  Conrad  Henlif  and  a  kinsman  of  his 
master  Faust.  He  printed  several  books  after  the  death  of  his 
father-in-law;  the  last  of  which  that  can  be  discovered  is  a  third 
edition  of  the  Psalter,  in  1490,  in  which  the  old  cut  metal  typi'S 
Wfre  used. 

"We  are  informed  that  the  Mcntz  printers,  in  order  that  tlio  art 
might  not  be  divub'-d,  administerr'd  an  oath  of  secrecy  to  all 
whom  thev  f-niplovd;  this  appears  to  have  Ijeen  strictly  adhered 
to  until  tlip  vf-ar  1  IG'2.  at  which  period  the  city  was  sack<d  and 
plundered  by  Archbishop  Adolphus,  its  former  ritrbts  and 
franchisf-s  were  also  abolished:  amid  the  constf-rnati'.n  occa- 
sidiif-d  liy  this  extraonlinarv  event,  the  workm^-n  of  the  Mf-ntz 
jjr(-s,  c(,ri-i(ltrin:z  thf'ir  oath  of  fidelity  no  longer  binding,  now 
lifcaiiif  frf  *"■  agents,  and  sproad  themsf-lves  in  ditff^rent  dirfctions 
bv  tbi'^  rirruin«ta!ice,  the  hitherto  crreat  mystory  was  rapidly 
carr:'-']  tlifMiii-h  a  '■on^id'-rablo  portion  of  Europe:  the  p'acj 
wl.lrli  rt-i'f.ivi-d  it  earlv.  after  «>i\i<'  time,  cornmeni'ed  a  ronten- 
tii-n  f  T  the  merit  of  tlie  di-covery  of  this  importaiit  Art.  which 
bas  iriven  n«:  ti.ithe  numerous  di-putos  we  are  now  endeavoring 
to  r;  concile. 


TYPOGRAPIIIA.  19 

Having  given  the  most  material  points  respecting  the  claims 
of  Ilaerlom  and  Mentz,  we  shall  now  proceed  to  state  those  in 
fevor  of  Strazburg: 

It  is  asserted  by  J.  Wimphelingius,  the  oldest  writer  in  favor 
of  the  latter  city,  that  Guttemberg  Avas  the  inventor  of  "  a  new 
art  of  wrhing,"  ais  impressorUi,  which  he  happily  completed  at 
Mentz;  but  he  does  not  mention  one  work  of  his  printing;  in 
another  book  he  observes,  "  the  art  of  printing  was  found  out  by 
Guttemherg,  incomplete.''^ 

Richard  Bartoline  published  a  work  in  favor  of  Mentilius,  and 
states  the  period  to  be  1441.  Gebwiler,  (born  1473,)  contends 
that  the  art  was  first  discovered  at  Strazburg,  by  Mentilius,  and 
that  Faust,  of  Mentz,  afterwards  imitated  him. 

Trithemius  informs  us,  that  Guttemberg  spent  all  his 
substance  in  quest  of  this  art,  and  met  with  insuperable 
difficulties;  that,  in  despair,  he  had  nearly  given  up  all  hopes 
of  success,  till  he  was  assisted  by  the  liberality  of  Faust,  and 
by  his  brother's  skill,  in  the  city  of  Mentz.  It  is  evident  that 
his  endeavors  at  Strazburg  were  unsuccessful ;  as  appears  by 
the  documents  of  a  judicial  decree  of  that  Senate,  in  1439;  after 
the  death  of  Andrew  Drizehen,  or  Drizenius,  whom  Guttemberg, 
(a  man  of  great  talent  and  ingenuity)  had  engaged  to  instruct  in 
the  art  of  polishing  stones ;  he  afterwards  employed  one  Joiui 
Riff  in  the  art  of  making  mirrors,  or  looking  glasses,  as  prac- 
ti^^ed  at  Aix-la-Chapelle,  and  also  in  other  arts,  in  which  the 
said  Drizehen,  and  also  Anthony  Heilman,  wished  to  be 
initiated:  certain  conditions  were  then  agreed  npon.  These 
two  individuals  paid  an  unexpected  visit  to  Guttemberg,  who 
lived  in  the  suburbs,  when  they  found  him  busily  employed  in 
another  mystery,  which  had  been  concealed  from  them.  After 
a  short  dispute,  Guttemberg  proposed  to  instruct  them  on  cer- 
tain conditions;  one  of  which  was,  that  a  portion  of  the  sum 
advanced  by  the  parties  be  refunded  to  their  heirs  if  they  should 
die  wnhin  the  space  of  five  years;  Drizehen  did  not  survive  the 
tiTui,  when  his  heirs  insisted  on  the  conditions  of  the  engage- 
ment; to  which  Guttemberg,  who  appears  to  have  been  a 
litiirious  man,  strenuously  refused  ;  a  legal  profess  was  the 
i.ousequence.     From  the  evidence  given  bv  th-^  uitr-rent  work 


20  TYPOGRAl'HIA. 

men,  carpenters^  servauls,  S^c.  it  is  evident  tliat  tliis  mystery  was 
the  invention  of  printing.  Immediately  after  tlie  demise  of  Drize- 
hen,  Guttemberg  gave  orders  to  his  servants  to  convey  from  his 
house  certain  implements  in  the  most  secret  manner;  ■which 
afterwards  appeared  to  be  a  printing-press,  and  a  quantity  of 
letters  cut  in  wood.  This  discovery  was  made  December  26, 
1438. 

In  1439,  John  Dunnius  declared  before  the  magistrates,  that 
he  had  received  one  hundred  florins  for  work  done  at  a  press 
three  years  before;  this  brings  the  epoch  of  the  first  attempt 
to  1436. 

In  1438,  the  unfortunate  Drizehen  lamented  to  his  Confessor, 
the  great  expense  which  he  had  incurred,  Avithout  having  been 
reimbursed  a  single  oholus.  Nor  did  Guttemberg  himself,  who 
persisted  in  his  unsuccessful  attempts,  reap  any  advantage  from 
them ;  for  on  quitting  Strazburg,  he  was  overwhelmed  in  debt, 
and  under  the  necessity  of  parting  with  the  greater  portion  of 
his  property. 

John  Mentilius,  a  physician  at  Paris,  has  strenuously  de- 
fended the  cause  of  his  namesake  of  Strazburg :  but  his  endeavors 
have  not  advanced  the  cause  of  Mentilius  one  tittle  beyond  what 
had  been  done  by  his  predecessors. 

The  principal  argument  wliicli  the  defenders  of  Mentilius 
have  set  forth,  is  the  title  of  nobility  conferred  upon  him  by  the 
Emperor  Frederick  III.  This  circumstance  was  handed  down 
by  the  grand-daughter  of  Mentilius,  Avho  married  J.  Schottien; 
and  he  aave  it  publieitv  in  tlie  PioJcjnnic  Geop-apluj,  printed  at 
?^traz])ur2:.  l.'iD.  It  has  been  asserted,  that  he  Avas  induced  to 
make  this  lieasi,  from  the  conduct  of  John  Scha-ffer,  of  ]\Ientz, 
wh'i  had  })revi()ush'  announced  in  his  Coloplvts,  tliat  the  dis- 
covery was  mad«'  by  John  Faust,  his  grandfather  by  his 
mother's  side. 

Thi<  rival-'-hij)  between  Sehn'fier  and  Pchottus  was  carried  to 
a  (■(iii^idi'ral)!''  liei^'ht  :  the  furnier  iiaincd  many  advocal''s  m 
f'.vor  of  Faii>t.  ■williunt  allin\iii2:  Ciuttemberg  the  l."a^l  iiicTit  ; 
aniniic'st  the  niuiilicr  ^\■;e^  tlif  I-hiijirrnr  ^Maximilian.  Avlm,  in 
IT)!  8.  ciaiitt'd  him  an  excln-ivr'  privil(>irc  of  prinlino-  JJvij, 
l,Hirin2  th'*-  lif-  '"it   thl~-   Eu/ptT'.ir.  the  latter  retuainrd  -ileni-  Ll; 


TYPOGRAPHIA.  21 

it  is  said  that  (immediately  after  his  death)  he  endeavored  to 
persuade  his  successor,  Charles  V.  and  the  literati,  that  Faust 
had  no  real  claim  to  the  merit  of  the  invention,  as  the  credit  of 
it  justly  belonged  to  Mentihus.  In  consequence  of  the  above- 
mentioned  grant  of  the  title  of  nobility,  we  are  informed  that,  in 
1520,  he  began  to  prefix  his  family  arms  to  all  the  books  which 
he  afterwards  printed  :  adding, 

"  That  they  were  granted  to  John  Mentilius,  the  first  inventor 
of  printing." 

It  appears  that  coat-armour  had  been  previously  conferred  on 
the  inventors  to  perpetuate  the  discovery,  but  the  grant  to  Men- 
tilius was  merely  to  gratify  his  ambition,  as  the  diploma 
contained  not  a  syllable  about  the  invention  of  printing. 

A  variety  of  evidence  might  be  adduced  in  favor  of  Mentilius, 
had  it  not  been  superseded  by  Schoepflin's  discovery  of  the 
document  of  the  law-suit;  from  which  it  appears,  that  Guttem- 
berg  was  the  first  who  attempted  printing  at  Strazburg,  although 
his  endeavors  proved  unsuccessful.  We  are  informed  by  Jacob 
Wimphelingius,  that  Mentilius  acquired  a  fortune  by  printing 
his  works  in  a  correct  and  elegant  manner:  therefore,  if  Gut- 
temberg  claims  the  honor  of  the  invention,  the  profitable  harvest 
was  reaiped  by  INIentilius. 

Two  Strazburg  Chronologers,  (Dan.  Speklinus,  the  other 
Anonymous)  expressly  inform  us,  that  John  Geinsfleisch,  sen. 
(whom  they  distinguished  from  Guttemberg)  when  he  had 
learned  the  art  from  its  first  inventor,  carried  it  by  theft  to  his 
native  city,  Mentz. 

They  make  Strazburg  the  place  of  the  invention,  and  Men- 
tilius liie  inventor,  from  whom  the  types  were  stolen.  These 
writers  are  completely  in  error,  because  Geinsfleisch  was  a 
resident  at  Mentz,  in  1441,  and  Mentilius,  according  to  tlieir 
account,  did  not  begin  to  print  before  1440;  therefore,  it  is 
improbable  that  he  could  have  been  a  servant  to  the  latter:  other 
authorities  state,  that  Mentilius  did  not  practise  prior  to  1444  or 
1448  ;  neither  will  their  narrative  agree  better  with  Guttemberg, 
who  certainly  printed  before  Mentilius,  as,  from  the  evidence 
produced  in  the  law-suit,  1439,  we  have  no  mention  of  any 
st-rvant,  except  Laurentius  Beildek. 


22  TY  POOR  A  PHI  A. 

We  have  endeavored  in  the  foregoing  pages  to  reduce  the 
subject  into  as  small  a  focus  as  possible :  this  we  have  dune  by 
bringing  it  to  one  simple  question,  ■which  in  our  o))inion  will 
settle  this  long-contested  point, — viz.:  Had  tlic  Meiitz  ]jr inters 
an;/  rii-al  prior  to  14G2?  Certainly  not.  Then  we  can  have  no 
hesitation  in  decorating  their  brows  with  the  laurel-wreath,  as 
a  just  reward  for  their  ingenuity  and  exertion,  which  others 
have  vainly  endeavored  to  deprive  them  of. 


The  medallion  in  the  following  page  contains  the  portraits  of 
the  individuals  generally  acknowledged  in  Germany  as  the  first 
printers  ;  the  subject  from  which  this  was  copied  is  supposed 
to  have  been  engraved  by  the  famous  Gubitz,  of  Berlin,  from 
an  old  German  painting. 


Wi?M^^ 


yOJpO 
i^^^V"')     PETER    SrilOEFFER,     (^"V^ 

I,  rp 

''^  ^  T   n  I  S     M  E  D  \  L  L  I  O  V 

I>  lirrp   pri  sont   d, 
til  U   Po^t  nt\   mi\   know  the  "Men 


'llir  Imp' oier. 


J 


t3  whom  tl    \   =tind  so 
much  111  l''!  fd 


^^ 


TYPOGRAPHIA.  25 

The  Art  of  Printing,  from  the  best  authorities,  appears  to  have 
been  introduced  into  England,  at  Westminster,  in  1474,  by 
William  Caxton,  mercer,  Avho  gained  his  knowledge  of  the  Art 
while  travelling  in  Germany  as  agent  for  the  Company  of 
Mercers,  who,  in  those  days,  amongst  other  commodities,  dealt 
in  books,  which  they  either  purchased  in  manuscript  or  caused 
to  be  printed.  In  1474  appeared  the  "Game  of  Chess,"  consi- 
dered to  be  the  first  book  printed  in  that  kingdom.  Caxton 
must  have  been  at  that  time  at  least  sixty-two  years  of  age,  and 
was  remarkable  for  his  habits  of  industry.  He  died  about  six 
years  after  the  introduction  of  the  Art,  having,  it  is  said,  in 
addition  to  the  working  of  his  press,  translated  not  fewer  than 
five  thousand  folio  pages. 

Chevellier  mentions  a  book  printed  at  Goa,  in  1577;  and  that 
Prester  John  was  very  anxious,  in  1581,  to  introduce  it  into 
Abyssinia  J  and  that  it  actually  passed  from  Spain  into  Morocco 
m  that  country.  S.  Olon,  the  French  Ambassador  to  Morocco, 
assures  us,  that  there  is  scarcely  a  printing-office  in  the  whole 
'erritory  :  and  that  it  is  a  part  of  their  religion  not  to  suffer  corn, 
norscs,  or  books,  to  be  exported ;  their  fondness  for  the  latter  is 
■■ncreased  by  reason  of  their  scarcity. 

Some  Danish  missionaries  are  said  to  have  sent  a  printing- 
press  and  workmen  to  Tranquebar;  where  they  printed  the 
NeAv  Testament  (in  quarto).  Prayer  Books,  Catechisms,  &c.,  in 
Portuguese,  and  several  Eastern  languages,  for  promoting  their 
pious  designs. 

A  Russian  merchant,  in  15G0,  conveyed  printing  materials 
into  that  state,  and  had  several  works  printed  there;  but,  being 
a  superstitious  people,  and  fearful  lest  it  might  tend  to  alter  their 
religious  notions,  some  persons  were  employed  to  destroy  the 
press,  Sec.  which  circumstance  passed  by  unnoticed,  as  no 
attempt  was  ever  made  to  discover  the  perpetrators.  Early  in 
the  next  century,  several  works  were  printed  at  Moscow  and 
St.  Petersl)urg;  since  which,  the  art  has  gradually  advanced  in 
that  extensive  territory.  The  Arts  and  Sciences  are  now  im- 
provin<r. 

Tlip  Art  was  extended  early,  by  means  of  Europeans,  but 
more  particularly  by  the  Spanish  missionaries,  into  Africa  and 


26  TYPOGRAPHIA. 

America.  Mr.  Thomas  in  liis  History  of  Printing  in  Jlnierica, 
asserts  that  a  press  was  established  at  Mexico  some  years 
before  15G9. 

The  earhest  production  from  the  Peruvian  Press  was  prmted 
at  Lima,  by  Father  Pablo  Jos.  de  Arriago,  in  1G21.  Mr. 
Thomas  states  its  introduction  about  1590:  most  of  their  works, 
prior  to  the  last  fifty  years,  are  said  to  have  been  upon  religious 
subjects.  About  the  begmning  of  the  seventeenth  century,  a 
press  is  said  to  have  been  introduced  into  the  Spanish  part  of 
St.  Domingo;  as  well  as  into  the  Isle  of  Cuba;  the  government 
principally  employed  these  presses. 

The  first  press  in  North  America,  is  stated  to  have  been  at 
Cambridge,  (Mass.)  in  1G39. 

In  the  accomplishment  of  what  v,'e  have  here  undertaken,  we 
shall  be  much  indebted  to  Tlwmas'  Hidory  of  Printing,  for  facts 
and  dates  respecting  the  periodicals  published  here,  previous  to 
the  termination  of  the  American  revolution.  In  fact,  there  is 
no  person  to  whom  the  public  is  more  indebted  for  a  correct 
history  of  printing,  than  the  late  venerable  Isaiah  Thomas,  of 
Worcester,  whose  vigorous  intellect  raised  him  to  distinction, 
and  secured  those  blessings  which  are  the  never  failing  rewards 
of  industry  and  perseverance.  Mr.  Thomas  was  not  only  the 
patron  of  every  enterprise  which  promised  utility  to  the  rising 
generation,  but,  in  a  particular  manner,  in  his  old  a<re,  devoted 
his  honestly  acquired  wealth  in  bringing  into  existence  the 
"  American  Antiquarian  Society,"  which,  in  future  ages,  will 
tell  the  storv  of  our  ccjuntry's  origin  and  growth. 

Among  the  first  settlers  of  New  England  were  many  pious  as 
well  as  learned  men.  They  emigrated  from  a  country  where 
ihe  press  had  more  license  than  in  other  i)arts  of  Europe,  and 
thev  wiTe  aefjuaint'-d  v/ith  the  u~-cfulness  of  it.  As  soon  as  thpy 
had  made  tli'i<f  provi^inn-^  tl:at  wrre  necessary  iijr  tlieir  exi^t- 
<  nee  in  ihi.-  land,  'wliii'li  a\  a-  tlu-n  a  rude  MiMcrncs';,  th<'ir  next 
ohjci'ts  Were,  the  e^tal)li-lini<-nt  of' srliofil-;.  and  a  piMutin'j  pri-'^s; 
the  latter  of  wliirli  was  nut  tel.Tateil,  till  manv  years  afierward, 
bv  tii(-  elder  cnloiiv  ( 'l"  \'iri:inia. 

The  toiinders  oj' tlie  colony  of  Ma'^sachusetts  eon^istcd  of  but 
a  small  nuin!)er  of  per^-oas,  ^vho  arrived  at  Sa!en:i  in  1623.     n 


TYPOGRAPHTA.  27 

few  more  joined  them  in  1G29;  and  governor  "Winthrop,  with 
the  addition  of  fifteen  hundred  settlers,  arrived  in  1630.  Tliese 
last  landed  at  the  place  since  called  Charlestown,  opposite  to 
Boston,  where  they  pitched  their  tents,  and  built  a  few  huts  for 
shelter.  In  1G31,  they  began  to  settle  Cambridge,  four  miles 
from  the  place  where  they  landed.  They  also  began  a  settle- 
ment on  the  identical  spot  where  Boston  now  stands.  In  1638, 
they  built  an  academy  at  Cambridge,  which  in  process  of  time 
was  increased  to  a  college;  and,  in  the  same  year,  they  opened 
a  printing  house  in  that  place.  In  January,  1639,  printing  was 
first  performed  in  that  part  of  North  America,  which  extends 
from  the  gulf  of  Mexico  to  the  frozen  ocean. 

For  this  press  our  country  is  chiefly  indebted  to  the  Rev.  Mr. 
Glover,  a  non-conformist  minister,  who  possessed  a  considerable 
estate,  and  had  left  his  native  country  with  a  determination  to 
settle  among  his  friends,  who  had  emigrated  to  Massachusetts; 
because  in  this  wilderness,  he  could  freely  enjoy,  with  them, 
those  opinions  which  were  not  countenanced  by  the  government 
and  a  majority  of  the  people  in  England. 

Very  little  more  than  the  name  of  this  Father  of  the  American 
press  is  known  among  us.  So  far  as  our  researches  have 
extended,  we  can  only  find  that  his  name  has  been  barely 
mentioned  by  two  respectable  journalists.  Governor  Winthrop, 
and  Captain  Johnson,  who  were  among  the  first  settlers  that 
emigrated  here.  This  was,  probably,  owing  to  his  having  died 
on  his  passage  to  Massachusetts. 

Another  press,  with  types,  and  another  printer,  were,  in  16G0, 
sent  over  from  FiHgland  by  the  corporation  for  propagating  the 
Uospel  among  the  Indians  in  New  England.  This  press,  &c. 
was  designed  solely  for  the  purpose  of  printing  the  Bible,  and 
other  books,  in  the  Indian  language.  On  their  arrival  they 
were  carried  to  Cambridge,  and  employed  in  the  printing  house 
already  established  in  that  place. 

Notwithstanding  printing  continued  to  be  performed  in  Cam- 
bridfie,  from  a  variety  of  causes  it  happened  that  many  original 
works  Avere  sent  from  New  England,  Massaciiusetts  in  particu- 
lar, to  London,  to  be  printed.  Among  these  causes  the  principal 
were — first,  the  press  at  Cambridge  had.  fTf'neralJy,  full  employ- 


28  TYPOGRAPHIA 

rneut,  secondly,  the  printing  done  there  was  executed  in  an 
inferior  style j  and,  thirdly,  many  works  on  controverted  points 
of  religion,  were  not  allowed  to  be  printed  in  this  country. 
Hence  it  happened  that  for  more  than  eighty  years  after  printing 
was  first  practised  in  the  colony^  manuscripts  were  occasionally 
sent  to  England  for  publication. 

The  fathers  of  Massachusetts  kept  a  watchful  eye  on  the 
press;  and,  in  neither  a  religious  or  civil  point  of  view,  were 
they  disposed  to  give  it  much  hberty.  Both  the  civil  and  eccle- 
siastical rulers  were  fearful  that  if  it  was  not  under  wholesome 
restraints,  contentions  and  heresies  would  arise  among  the 
people.  In  1662,  the  government  of  Massachusetts  appointed 
licensers  of  the  press;  and  afterward,  in  1664,  passed  a  law  that 
"no  printing  should  be  allowed  in  any  town  within  the  jurisdic- 
tion, except  in  Cambridge" — nor  should  any  thing  be  printed 
there  but  what  the  government  permitted  through  the  agency 
of  those  persons  Avho  Avere  empowered  for  the  purpose. — 
Offenders  against  this  regulation  were  to  forfeit  their  presses  to 
the  country,  and  to  be  disfranchised  of  the  privilege  of  printing 
thereafter.  In  a  short  time,  this  law  was  so  far  repealed,  as  to 
permit  the  use  of  a  press  at  Boston,  and  a  person  was  authorized 
to  conduct  it;  subject,  however,  to  the  licensers  "s\ho  were 
appointed  for  the  purpose  of  inspecting  it. 

It  does  not  appear  tliat  the  press, J^n  Massachusetts,  was  free 
from  legal  restraints  till  about  the  year  1755.  Ilolyoke's 
Almanac,  for  1715,  has,  in  the  title  page,  '•Imprimatur,  J. 
Dudley." 

Boston  has  the  credit  of  issuing  the  first  newspaper  in  North 
America,  which  was  connnenced  on  Monday.  April  24,  17U4, 
by  .Tuhn  ('ainpb(-ll,  Esq.  under  the  title  of  the  Boston  J\''nrs 
Litter.  It  was  discontinued,  (1776)  after  being  regularly  pu!)- 
li^hed  i'lir  nearly  sevehty-tw(j  years. 

4"lie  srcond  ne\vs[)aper  whii'h  appeared  in  Anrerira,  ns  well 
;is  the  first,  was  publi-hed  iu  Bei-um  ;  it  was  called  Ttie  Boaton 
Cj'dzftir;  the  (ir-t  number  was  published  December  "^i,  1719,  on 
a  half-sheet  foi.lseap  size. 

The  .linrricaii  il'iihlij  Mirriinj  was  commenced  tlie  day 
lellowing  at  l'hil;u!e!i)l!ia.  V.  lii''h  laade  the  tlurd  paper  issued  ii. 
;he  ( "1111111  Stale--. 


TYPOGRAPHIA.  29 

The  third  newspaper  Avhich  appeared  in  Boston  was  the  A'ew 
Enghmd  Covrant,  established  by  James  FranlvKn,  August  17, 
1721,  and  was  printed  on  a  half  sheet  crown  paper.  On  Mr. 
JVIusgrave's  becoming  proprietor  of  the  Gazette,  the  printing 
was  taken  from  Franklin,  which  circumstance  probably  led  to 
the  establishment  of  the  Cowant ;  for  he  warmly  attacked 
Musgrave  and  endeavored  to  have  him  turned  out  of  office.  A 
society  of  gentlemen  furnished  essays  for  this  paper,  which 
were  evidently  written  by  men  of  talents,  attacking  persons  in 
office,  the  clergy  and  the  prevailing  religious  opinions;  and 
opposed  rather  rudely  the  introduction  of  inoculation  for  the 
small  pox.  These  essays  attracted  general  notice,  and  the  paper 
soon  had  warm  advocates  and  zealous  opposers;  and  finally 
roused  the  attention  and  interference  of  the  government.  Dr. 
Increase  Mather  openly  denounced  the  Courant,  by  an  address 
to  the  public,  which  appeared  in  the  Boston  Gazette.  Before 
the  Courant  had  been  printed  a  year,  Franklin  Avas  imprisoned 
by  order  of  the  government  in  the  common  jail,  where  he 
remained  four  weeks.  After  his  release  from  prison,  the  club 
was  encouraged  to  proceed  with  increased  boldness,  which  led 
to  a  further  interference  of  the  government;  and  it  was  "  there- 
upon ordered  that  James  Franklin,  the  printer  and  publisher,  be 
strictly  forbidden  by  this  Court  to  print  or  publish  the  New 
England  Courant,  or  any  pamphlet  or  paper  of  the  like  nature, 
except  it  be  first  supervised  by  the  Secretary  of  this  Province; 
and  the  Justices  of  his  Majesty's  Sessions  of  the  Peace,  for  the 
county  of  Suffolk,  at  their  next  adjournment,  be  directed  to  take 
sufficient  bonds  of  said  Frankhn,  for  his  good  behaviour  for 
twelve  month's  time." 

Franklin  published  the  Courant,  notwithstanding,  on  the 
following  Monday,  Avithout  submitting  its  contents  to  the  Secre- 
tary. For  this  neglect,  a  bill  of  indictment  was  preferred  to  the 
grand  jury  against  him  for  contempt  of  an  order  of  the  Court. 
The  jury  returned  •' r^nornmus'^  on  the  bill,  and  he  was  put 
under  bonds  for  his  good  behavior  pursuant  to  the  order  of  the 
General  Court.  In  consequence  of  things  bf^ing  thus  situated. 
it  was  determined  to  alter  the  iini)rint  hv  leaving  out  the  wont 
James,  and  inserting  that  of  Benjarina,  in  order  to  eva;]e  tlie  act. 


30  TYPOGRAPHIA. 

This  was  carried  into  immediate  cITect,  and  the  Courant  pur- 
ported to  be  '"printed  and  sold  by  Bex.iamix  FRA>-i:Lix,  in 
Q,ueen  street:'"  althoii2:h  lie  was  a  minor,  and  an  apprentice  to 
his  brother.  The  paper  continued  to  be  published  in  the  name 
of  Benjamin  Franklin  for  some  time  after  he  left  his  brotner; 
and  for  any  thing  that  appears,  until  its  publication  was  discon- 
tinued in  17'J7. 

The  British  Colonics  in  America,  and  the  "West  India  Islands, 
first  received  the  art  in  1751  :  their  productions  were  chiefly 
confined  to  colonial  gazettes,  kc. 

Port-au-Prince  is  said  to  have  received  a  press  in  17."0,  at 
v.'hich  an  account  of  a  great  earthquake  (experienced  in  that 
Inland.)  was  printed,  in  1751  :  the  presses  under  the  dominion 
of  France  are  chiefly  confined  to  the  use  of  the  government. 

Cicero,  in  his  Dc  J\''atura  Dcorum,  has  a  passage,  from  which 
Tokind  supposes  the  moderns  took  the  hint  of  printing.  That 
autlior  ord(>rs  the  t\'pes  to  be  made  of  metal,  and  calls  them 
Ji/niHc  lilcrarinn.  thf  very  words  used  by  the  first  printers  to 
express  them.  In  Virgil's  time,  brands,  with  letters,  were  used 
fur  marking  cattle,  S^c.  with  t!ie  owner's  name. 

In  the  second  book,  he  gives  a  hint  of  separate  cast  letters, 
v.'hen  he  speaks  of  some  ingenious  man's  tlirowing  the  twentv- 
four  letters  of  the  alphabet,  (made  either  of  gold  or  oth^r  metal) 
r  V  chanee  together,  and  thus  producing  Tlic  Aiuuils  of  Eiudiis. 
lie  makes  this  ol)servali"n,  in  opposition  to  the  atheistical  argu- 
ii;em  of  the  creation  of  th"  werld  by  chance. 

In  the  I'lillns.  Tranx.  we  find  the  emperor  Justin  could  not 
v.riie;  in  ceiiseipience,  a  similar  expedient  Xo  the  printing  of 
plavina'  eards  was  reserted  to;  namely,  a  smooth  piece  of  buard 
witii  hobs  cut  tiirouLfh  it,  in  the  furm  of  the  letters  of  hi<  name; 
and  -wh*  ;i  he  had  occasien  to  si::n  anything,  tliis  wa-  laid  on 
t!ie  jiaper.  and  he  marked  ilie  letters  witli  a  {)in.  or  stylus 
(lipped  in  red  ink.  and  directed  thr(jua"h  the  heles. 

The  jiillev.-iiii:  pMrticular-;,  relative  to  the  first  productii in^  of 
the  iirt  (ilinn::h  well  known  t"  the  curious.)  w.H,  v>-i.-  trust,  b- 
d'  ■  toed  acefpinhlc  ti)  our  reaijers;  — 

W'itl',  re-,j)f-et  to  ilieir  firms,  they  were  rr,.ni. -rally  eitluT  large 
<  r  small  feli'S,  e,]  at  1- a-t  (oiartes-   the  le-ser  sizes  were  n(jt  in 


TYFOGRAPIIIA.  31 

use.  The  leaves  were  without  running  title,  direction-word, 
number  ol'  pages,  or  divisions  into  paragraphs.  The  character 
itself  was  a  rude  old  Gothic  mixed  with  Secretary,  designed  on 
purpose  to  imitate  the  hand-writing  of  those  times;  the  words 
were  printed  so  close  to  one  another,  that  it  was  difficult  and 
tedious  to  be  read,  even  by  those  who  were  used  to  manuscripts, 
and  to  this  method;  and  often  led  the  inattentive  reader  into 
mistakes.  Their  orthography  was  various,  and  often  arbhrary, 
disregarding  method.  They  had  very  frequent  abbreviations, 
which  in  time  grew  so  numerous  and  difficult  to  be  understood, 
that  there  was  a  necessity  of  writing  a  book  to  teach  the  manner 
of  reading  them.  Their  periods  were  distinguished  by  no  other 
point  than  the  double  or  single  one,  that  is,  the  colon  or  full  point; 
but  they  a  little  after,  introduced  an  oblique  stroke,  thus,  /,  which 
answered  the  purpose  of  our  comma.  They  used  no  capital 
letters  to  begin  a  sentence,  or  for  proper  names  of  men  or  places. 
They  left  blanks  for  the  places  of  titles,  initial  letters,  and  other 
ornaments,  in  order  to  have  them  supplied  by  illuminators, 
whose  ingenious  art,  though  in  vogue  before,  and  at  that  time, 
did  not  long  survive  the  masterly  improvements  made  by  the 
printers  in  this  branch  of  their  art.  Those  ornaments  were 
exquisitely  fine,  and  curiously  variegated  with  the  most  beautiful 
colors,  and  even  with  gold  and  silver;  the  margins,  likewise, 
were  frequently  charged  with  a  variety  of  figures,  of  saints, 
birds,  beasts,  monsters,  flowers,  Sec.  which  had  sometimes 
relation  to  the  contents  of  the  page,  though  often  none  at  all: 
these  embellishments  were  very  costly;  but  for  those  that  could 
not  afford  a  great  price,  there  were  more  inferior  ornaments, 
which  could  be  done  at  a  much  easier  rate.  The  name  of  the 
printer,  place  of  his  residence,  &.c.  ;jcc.  where  either  wiioljy 
ufglected,  or  put  at  the  end  of  the  book,  not  without  some  pious 
fjaculution  or  doxology.  Tlie  date  was  likewise  omitted,  or 
involved  in  some  crarnpt  circumstantial  pf-riod,  or  else  printet^ 
either  at  full  Ien<jth,  or  by  numerical  letters,  and  sometimes 
paTlly  one  and  partly  t!ie  otlier;  thus,  One  Tiiousand  CCCtJ 
and  Ixxiiii,  tec.  but  all  of  them  at  tlie  end  of  the  bouk.  Tli'>re 
were  no  variety  of  characters,  no  intermixture  of  Roman  and 
Italic;  they  are  of  later   invention;  but  their  pages  Avere  con 


32  TYPOGRAPIIIA. 

tinued  in  a  CJoiliie  lettf-r  ol'  the  same  size  tiiroughout.  They 
printed  but  feAV  copies  at  once,  lor  200  or  300  were  tlien 
esteemed  a  large  impression;  though,  upon  the  encouragements 
received  from  the  learned,  they  increased  their  numbers  in 
proportion. 

About  14G9-70,  alphabetical  tables  ol'  the  first  words  of  each 
chapter  were  introduced,  as  a  guide  to  the  binder.  Catch-words 
(now  generall}'  al)olished)  were  first  used  at  Venice,  by  Vinde- 
line  de  Spire.  The  name  and  place  of  the  inventor  of  signatures 
is  obscured  by  a  dark  cloud. 


Stereotypixg  seems  to  have  been  invented  in  Scotland,  and 
first  practised  by  William  Ged,  of  Edinburgh,  in  the  year  1725, 
and  when  properly  made  known,  was  hailed  with  acclamation 
by  the  printing  and  publishing  world.  When  the  types  are  set 
with  high  quadrats  and  spaces,  they  are  plastered  over  with 
liquid  stucco  to  the  thickness  of  about  half  an  inch,  so  that  a 
level  cake  is  formed  on  the  surface  oi'  the  types.  As  soon  as 
the  stucco  hardens,  which  it  does  almost  immediately,  the  caice 
is  separated  from  the  types,  and,  on  being  turned  up,  shows  a 
complete  hollow  or  mould-like  representation  of  the  faces  of  the 
types  and  every  thing  else  in  the  page.  There  being  no  longer 
any  use  for  the  types,  they  are  carried  off  and  distributed.  As 
for  the  cake,  it  is  jnit  into  an  oven  and  baked  to  a  certain  degree 
of  heat  anil  hardness,  like  a  piece  of  pottery.  It  is  next  laid  in 
;i  scpiare  in.m  jinn,  having  a  lid  of  the  same  meial,  with  holes  at 
the  corners.  The  pan  is  now  nnmersnd  in  a  pot  of  molten  metal, 
and  being  allowed  to  fill  bv  means  of  the  hol(>s,  it  is  at  length 
taken  (Hit  and  ])iit  aside  till  it  is  cool.  On  (Ji)eiiing  the  pan.  a 
curieiis  appearance  is  presented.  The  metal  lias  run  iiit(j  the 
mniild  .-ide  of  tiie  cake,  and  t'ormed  a  thin  plate  all  over,  exhi- 
biting- tiie  perre(>t  appearance  of  th<'  faces  of  tlie  types  on  which 
the  .vuici'o  was  pla--tere(l.  'J'hii-  i-^  pn.i'ui'ed  a  firiiiiims  page  ot 
tvpes,  lint  tliick.-r  than  tiie  sixtli  ef  an  incli,  and  v/hii-h  can  be 
j)riiiie(i  from  in  the  same  manner  as  in  tiie  ca-e  of  a  n  al  page. 
Such  is  the  i)n)ci''-s  (;C  ^t(  reeitypini:.  or  making  J/'.rr(/,  or  sic- 
tionan/  Ijijnf ; — and  new  fur  the  ntihty  of  tlie  invention: 


TYPOGRAPIIIA.  33 

In  all  cases  of  book  work  where  a  small  edition  only  wiu  be 
required,  it  is  best  to  print  from  types,  and  then  distribute  them  : 
but  in  most  cases  of  standard  works  or  books  published  in  parts, 
or  numbers,  stereotyping  becomes  absolutely  necessary.  It  is 
easy  to  perceive  the  reason  for  this.  When  books  are  published 
in  numbers,  it  often  happens  that  many  more  copies  are  sold  of 
one  number  than  of  another,  and  unless  all  the  types  be  kept 
up  to  complete  sets  in  the  hands  of  the  publisher,  or  to  print 
copies  according  to  the  increased  demand,  a  serious  loss  is  sus- 
tained. The  manufacture  of  stereotype  plates  is,  therefore, 
simply  a  means  of  keeping  up  fictitious  types  to  answer  future 
demands,  at  an  expense  infinitely  inferior  to  that  of  keeping  the 
actual  pages  standing. 


Lithography  is  the  art  of  printing  from  stone.  It  is  only  of 
recent  invention,  and  differs  very  considerably  in  principle, 
from  the  art  of  printing  from  moveable  types,  wooden  blocks  or 
copper  or  other  plates.  The  process  consists  in  writing  on  a 
particular  kind  of  stone,  and  from  thence  working  off,  by  a 
press,  any  nimiber  of  copies,  the  writing  thus  standing  in  relief 
on  the  stone  like  raised  letters.  The  peculiar  value  of  this 
ingenious  art  is  in  the  cheapness  and  ease  with  which  it  accom- 
plishes impressions  of  pictorial  delineations  or  manuscript.  The 
discovery  of  the  Lithographic  art  was  made  upwards  of  thirty 
years  since  by  Senefelder,  a  native  of  Germany — a  country  to 
which  the  human  race  is  also  indebted  for  the  more  noble  art  of 
printing  from  types;  but  since  that  period  very  great  improve- 
ments have  been  made  upon  it. 

The  history  of  the  origin  of  lithography  is  instructive,  and 
affords  to  the  young  an  additional  mstance  of  the  triumph  of 
genius  over  poverty  and  its  attendant  disadvantages.  Like 
every  new^  invention,  when  first  attempted  to  be  brought  into 
notice,  it  met  Avith  all  the  obstacles  which  ignorance  or  prejudice 
could  throw  in  its  way  ;  and  it  was  not  till  after  years  of  laborious 
perseverance,  accompanied  Avith  all  the  evils  attendant  on  very 
limited  means,  that  the  inventor  succeeded  in  establishing  his  re- 
putation, and  gaining  for  the  new  art  its  due  degree  of  admiration. 


34  TYPOGRAPHIA. 

Senefelder  relalos  with  the  greatest  candor,  tliat  having  be 
come  an  author  and  at  the  same  time  being  so  poor  that  he 
could  not  raise  the  necessary  funds  for  the  printing  of  his  worn 
with  a  view  to  pubhcation,  he  endeavored  to  devise  some  method 
by  which  his  object  might  be  attained,  and,  after  much  anxious 
consideration,  he  resolved  on  attempting  to  accomplish  it  with 
his  own  hands.  With  this  view,  his  attention  was  first  directed 
to  several  original  curious  modes  of  stereotype,  some  of  which 
he  considerably  matured,  and  had  his  circumstances  at  this 
period  been  such  as  to  admit  of  his  devoting  a  sufficient  time  to 
the  perfecting  of  this  first  part  of  his  undertaking,  it  is  question- 
able whether  his  talents  would  have  ever  been  forced  into  that 
particular  line  of  study,  which,  in  the  end,  acquired  for  his 
name  so  great  a  celebrity.  The  same  remark  is  applicable  to 
some  of  the  other  ingenious  attempts  which  preceded  his  great 
discovery.  For  a  time,  however,  plan  succeeded  plan,  each 
being  abandoned  in  turn,  as  new  and  more  plausible  theories 
struck  his  fancy,  and  in  this  way  did  he  persevere,  for  many 
months,  with  various  degrees  of  success,  but  without  the 
necessary  results;  and  he  at  last  relinquished  this  course  of 
experiments  altogether,  as  presenting  too  many  obstacles  to  be 
overcome  by  an  individual  in  his  circumstances. 

Disappointed,  but  not  disheartened,  in  not  having  been  so 
succes'-ful  in  his  operations  as  he  had  anticipated,  Ave  next  find 
him  att'^mptlng  to  realize  his  hopes  by  substituting  plates  of 
foppor  and  tin  for  his  metal  and  composition  blocks;  but  this 
s'i'oud  course  of  experiments  was  attended  with  little  beu^r 
sufcp^s  than  the  former;  fur,  after  much  labor,  and  numerous 
trials  with  the  etching  needle,  and  by  writing  on  the  copper 
with  (litTerent  cliemical  inks  of  his  own  composition,  this  medium 
was  found  to  be  liable  to  all  the  objections  which  liad  deterred 
him  from  pro^er-uting  the  stereotype  plan.  Bein::.  liowever, 
still  of  the  opinjfin  that  his  object  was  to  Ite  accomplished  bv  art 
alone,  and  ha\  in::  biid  a-idc  his  copper  plates  for  a  time.  a<  too 
expciL-ive.  he  l)i_'-m  to  Imk  around  for  a  sub-titu!"  wliicli  would 
t^iippiv  thi'ir  plaee  f, ir  ;i!l  the  pur[)o-;rs  rif  practice,  and  at  a 
tnncli  le^*;  ro-t.  lie  \v;i<  net  ]i)nz  in  determinincr  'his  point; 
f  r.  belli::  awaie  tlial  i:rrtai!i  kmd<  of  'tone  had  often  been  us^-d 


TYPOGRAPHIA.  35 

for  siuiikir  purposes,  he  converted  the  slab  on  which  he  grouns 
his  colors  into  a  plate  for  exercising  in  writing,  and  found  i\ 
answered  his  expectations  completely.  Experiments  now  fol- 
lowed each  other  in  rapid  succession,  all  tending  to  encourage 
him  in  the  prosecution  of  his  design ;  and,  when  at  length  these 
stone  plates  were  rendered  fit  for  undergoing  the  operations  of 
the  printing  press,  he  was  greatly  pleased  to  find  that  numerous 
impressions  might  be  taken  on  paper,  without  materially  in- 
juring the  original. 

We  shall  now  at  once  advert  to  the  time  when  circumstances 
conspired  to  force  upon  his  attention  those  properties  of  the  art, 
which,  on  their  first  unfolding  themselves,  so  astonished  and 
delighted  him.  "  I  had  (says  he)  just  succeeded  in  my  little 
laboratory  in  polishing  a  stone  plate  which  I  intended  to  cover 
with  etching  ground,  in  order  to  continue  my  exercises  in 
writing  backwards,  when  my  mother  entered  the  room,  and 
desired  me  to  Avrite  her  a  bill  for  the  washer-woman,  who  was 
waiting  for  the  linen.  I  happened  not  to  have  even  the  smallest 
slip  of  paper  at  hand,  as  my  little  stock  of  paper  had  been 
entirely  exhausted  by  taking  proof  impressions  from  the  stones 
nor  was  there  even  a  drop  of  ink  in  the  inkstand.  As  the 
matter  would  not  admit  of  delay,  and  Ave  had  nobody  in  the 
house  to  send  for  a  supply  of  the  deficient  materials,  I  resolved 
to  write  the  list  with  my  chemical  ink,  on  the  stone  which  I 
had  just  polished,  and  from  which  I  could  copy  it  at  leisure." 

When  about  to  remove  this  writing  from  the  stone,  some  time 
afterwards,  the  idea  struck  him,  tliat,  by  submitting  its  surfice 
to  the  action  of  afjuafnrtis,  such  an  ekivation  might  be  given 
to  the  writing  as  would  render  it  suitable,  in  the  same  way  as 
wood-engravings,  for  receiving  printing  ink.  The  experiment 
exceeded  his  most  sanguine  hopes,  and  he  lost  no  time  in 
following  up  his  success  with  others',  all  tending  to  convince 
him  that  he  had  discovered  a  new  and  important  art. 

Thus  it  will  be  seen,  that,  to  a  very  simple  occurrence  in 
Itself,  Senefelder  was  indebted  for  the  Jtint  on  which  hinged  all 
his  succeeding  improvements. 

Having  now  briefly  adverti^d  to  some  of  the  leading:  iiiciihnts 
whi'-h  ultimatelv  If^d  to  the  discoverv  of  rhfinical  lit!ingraphv. 

4 


?5  TYrOGRAnilA. 

we  sliall  next  proceed  to  the  notice  of  such  particulars  concern- 
ing the  progress  of  the  new  art  under  the  fostering  care  of  its 
author,  as  may  be  thought  generally  interesting. 

Let  it  not  be  imagined  that  Senefelder's  difficulties  ceased  with 
this  discovery  :  the  fact  is  otherwise;  for,  in  addition  to  the  many 
obstacles  which  he  had  to  combat  from  lacking  the  necessary 
funds  for  the  prosecution  of  his  labors,  others  were  not  wanting 
of  a  nature  equally  serious,  and  which  were  to  him  the  source 
of  long  and  painful  anxiety.  Among  the  rest,  it  was  not  a  little 
annoying  to  know  that  others  were  beginning  to  lay  claim  to  the 
merit  of  a  new  discoverv. 

For  a  series  '.'*  'ears,  •  '  efelder's  patience  and  perseverance, 
under  the  i'.,-'  disadvantageous  circumstances,  were  truly 
astonishing;  ,  ,'  we  shall  now  proceed  briefly  to  detail  "such 
other  particuV.ir..  m  further  illustration  of  the  preceding  remarks, 
as  may  be  deemed  necessary  for  completing  this  part  of  our 
subject. 

Satisfied  as  to  the  originality  of  his  new  discovery,  Senefelder 
became  anxious  to  turn  it  to  account,  by  laying  it  before  the 
world;  and  in  order  to  raise  the  necessary  funds  for  at  once 
effecting  this  olyect,  we  lind  him,  Avhen  all  other  means  had 
failed,  offering  himself  as  a  substitute  for  a  friend  who  was  then 
a  soldier  in  the  service  of  the  elector  of  Bavaria,  but  with  his 
usual  want  of  success;  for,  on  presenting  himself  at  Ingolstadt 
i'or  tlie  ]iur[)osc  of  being  enrolled,  it  was  discovered  that  he  was 
not  a  native  of  \]\v  electorate,  and,  consequently,  inadmissible 
to  ils  arniv.  Ilis  last  hope  seemed  noAV  to  have  failed  him,  and 
he  describes  liis  feelings  as  being  at  this  time  in  a  state  '"  bor 
(liTin::  on  despair."  However,  it  was  not  lon:r  ere  iiis  pro^jiects 
bf'iian  nsjain  to  brighten  a  little;  and  he  at  length  succeeded  in 
])ubli'-hina',  in  conjunriion  with  the  compc.iscr.  a  collection  of 
music,  tiic  ixeciition  of  whicli  was  greatly  admired,  and  whi'di 
obtained  I'lir  him  tlie  jiatnuiage  of  th»>  elector,  and  a  promise  of 
an  exrlusi\'e  j)iivil'ge. 

About  this  time  another  candiilate  for  the  honor  of  liavinr; 
discovered  the  \\>\v  art  rnme  furwarti  in  the  person  of  AI. 
.'^'■hiniih.  i)roje<-or  of  llie  Iloval  Colleijj-e;  and  aiihoiigh,  for  a 
time,  llie  station  whieli  tins  gf-nlleinan  tilled   helj)ed  to  sujjpon 


TYPOGRAPHIA.  37 

his  pretensions  against  his  less  fortunate  rival,  public  opinion 
by  degrees  became  less  divided,  and  ultimately  there  prevailed 
but  one  belief  on  the  subject. 

It  was  not  till  after  having  labored  a  considerable  time  in  his 
new  profession,  and  experiencing  innumerable  inconveniences 
from  being  compelled  to  execute  all  his  writings  on  the  stone 
backwards,  that  he  commenced  another  series  of  experiments, 
the  object  of  which,  was  to  obviate  the  necessity  of  writing  on 
the  stone,  by  previously  doing  it  on  paper,  and  then  transferring 
it  from  the  paper  to  the  stone,  reversed.  Some  thousands  of 
experiments  were  made  before  he  was  enabled  to  produce  a 
composition  for  preparing  the  surface  of  the  paper  suited  for 
all  the  purposes  which  he  had  in  view,  and  it  was  this  property 
of  the  new  art  which  more  particularly  attracted  public  notice, 
from  the  incalculable  benefits  which  it  was  foreseen  would  be 
conferred  on  all  kinds  of  business  when  fairly  brought  into 
general  practice.  It  was  about  this  time  also  that  he  invented 
the  lever  press,  which  added  greatly  to  the  comfort  and  certainty 
of  the  operations  in  the  printing  department  of  lithography. 

Having  at  length  obtained  an  exclusive  privilege  for  exer- 
cising his  art  in  Bavaria,  he  did  not  consider  it  any  longer 
necessary  to  keep  the  process  a  secret,  and  it  soon  spread  over 
the  greater  part  of  Germany;  but  his  experience  enabled  him 
for  several  years  to  outstrip  all  his  competitors  in  so  far  as  the 
execution  of  his  work  was  concerned,  although,  in  every  other 
respect,  he  seemed  to  be  almost  the  only  one  in  Avhose  hands 
the  art  did  not  give  ample  returns  both  for  money  and  labor.  In 
no  other  way  can  this  uniform  want  of  success  be  accountf'd 
for,  than  by  supposing,  that,  while  others  were  making  the 
most  of  what  he  had  already  discovered,  he  was  devoting  much 
of  his  time  to  the  experimental  part  of  the  business.  This  in  fact 
was  the  case. 

About  the  year  1800,  Sonefelder  went  to  I.iOndon  for  thr* 
purpose  of  establishing  himself  there  as  a  litlio^fvaplier,  but  n 
few  months  sufficed  to  convince  him  that  he  had  little  chance 
of  succeeding  in  his  undertaking;  and  he  returned  to  his  own 
country,  where,  on  his  arrival,  he  found  that  many  attempts 
had  been  made  in  his  absence  to  deprive  hiiu  of  tl\e  benefit  of 


38  TYPOORAPIITA. 

his  privilcgo.  Among  the  most  forward  in  this  scheme  were 
•wo  oi'  liis  hrolhfTs,  to  Avhom  he  iiad  communicated  all  the 
sei'rets  of  the  art,  and  it  took  some  time  to  counteract  the  bad 
effects  of  their  ungenerous  conduct.  Finding  that,  in  his  native 
place  (Munich,)  otiiers  were  reaping  many  of  the  advantages 
which  by  right  should  have  been  the  reward  of  his  own 
industry,  he  was  induced  to  go  to  Vienna,  for  the  purpose  of 
superintending  a  calico  printing  establishment,  the  operations 
of  which  were  to  be  conducted  on  the  principles  of  the  new  art; 
and  here,  for  the  space  of  several  years,  his  talents  were  entirely 
devoted  to  this  new  undertaking;  but,  at  the  end  of  which  time, 
from  a  variety  of  causes  over  which  he  had  no  control,  he  was 
again  thrown  upon  the  world,  destitute  of  every  thing  save  tlie 
resources  of  his  own  genius.  It  was  not  till  about  the  year  1809 
that  Senefelder  was  extricated  from  the  difTiculties  of  his  situa- 
tion, by  being  appointed  inspector  of  the  royal  lithographic 
establishment  of  Munich,  which  at  once  placed  him  above  the 
necessity  of  exercising  his  profession  as  a  means  for  gaining  his 
daily  subsistence,  and  enabled  him  to  devote  a  portion  of  his  tima 
to  tne  improvement  of  such  branches  of  the  art,  as,  in  his  former 
circumstances,  he  had  never  found  it  possible  to  eflect. 

In  conclusion,  it  may  not  be  out  of  place  to  remark,  that,  in 
the  case  of  Se-neielder,  we  have  another  instance  to  the  many 
rerorded  f^icls  in  the  lives  of  eminent  men,  of  the  successful 
pursuit  of  kn(jw!edge  under  extraordinary  difiicuhies — present- 
ing an  f-xainple  worlliy  of  our  highest  admiration  and  respect. 


Ffupeless  would  Ije  our  task,  wer(>  we  to  endeavor  to  trace  llie 
subject  (if  IvNoiiAvi.Nc;  to  its  oriirinal  source:  alter  we  have 
explored  one  path,  we  find  ourselves  liiwildcred  in  a  sei-oud, 
and  M)  in  a  !ii:nl.  till  at  Icngtli  we  iinally  lo^c'  ourselves  in  tlir, 
endless  ina/es  (if  dc'-pair. 

It  has  been  conlenileil  bv  Some  writers,  that  the  aii  <>f  luijirr^ 
siiiu  was  well  known  to  the  ancieiil^;  in  conliniialion  ol'  this, 
they  instance  the  stamps  of  iron  iuid  otlK/r  metals,  with  whicli 
bales  of  iroeiis  and  various  articles  ot'  their  manufiielure  went 
marked,  throughout  Italy  and  other  parts  of  b'.urope,  duiing  th(j 


TYPOGPxAPHIA.  39 

low  ages :  ami  tliat  the  art  of  taking  impressions  from  engraved 
blocks  of  wood  is  nothing  more  than  a  principle  familiarly 
known  to  the  ancients  from  time  immemorial;  consequently,  it 
is  not  worthy  the  appellation  of  a  discovery;  even  Typography 
itself  is  considered  by  them  as  scarcely  deserving  the  name  of  an 
invention.  It  appears  that  the  ancient  artists  used  separate 
letters  (similar  to  our  bookbinder's  tools)  for  the  purpose  of 
stamping  the  inscriptions.  Sec.  upon  their  lamps,  their  vases, 
and  their  bassi-relievi  of  clay;  which  being  first  cast,  were 
afterwards  finished  by  the  hand  of  the  modeller.  The  mode  of 
indentation  here  noticed,  being  that  of  pressing  one  body  against 
another  body  of  a  softer  texture,  thereby  occasioning  a  change 
of  form  in  its  surface :  the  impression  from  engraved  blocks  or 
letters,  primed  with  ink,  is  not  merely  that  of  indention  upon 
the  paper,  but  a  change  of  color,  from  the  black  tint  with  which 
the  projecting  parts  were  charged,  previous  to  the  operation  of 
printing.  We  have  Ihtle  proof  that  the  ancients  had  a  know- 
ledge of  this  latter  mode  of  impression;  one  instance  has  been 
adduced  :  this  is  an  account  of  a  sigiUuiu  of  a  very  rare  kind  in 
the  Duke  of  Richmond's  collection,  the  letters  of  which  are 
raised,  as  Avell  as  the  rim,  after  the  manner  of  our  printing 
types.  This  stamp  is  of  true  ancient  brass;  it  is  nearly  two 
inches  long,  and  one  in  breadth ;  on  the  back  is  a  ring,  for  the 
purpose  of  holding  it  when  the  impression  is  made.  The  letters 
are  in  Kom^n  capitals,  standing  in  two  rows.     It  contains 

C  A  I  U  S     J  U  T-  I  U  S 
C  ,^  C  11,  1  U  S     II  K  U  M  I  A  S  . 

whii-h  must  have  been  the  name  of  some  private  man,  no 
account  of  such  person  being  found  upon  record.  The  ground 
of  this  seal  being  uneven,  proves  that  it  was  intended  to  make 
an  impression  on  a  thin  sulistance,  whereas,  if  it  Avere  stamped 
on  anv  thing  soft,  the  unevenness  of  the  ground  would  be 
visible,  Vv-hich  nuist  destroy  its  appearance.  This  signet  was 
found  near  Rome,  and  is  allowed  to  be  the  most  ancient  sample 
of  printing  known:  from  the  appearance  of  the  metal,  it  is 
judged  to  be  of  the  Higher  Empire. 

impressions  have  be<:ni  taken  from  it  on  paper,  with  modern 
P''inting  ink,  which   proVcs  the  use   it  was   intended   for;   the 
4* 


40  TYPOGRAPHIA. 

mark  performs  it.s  oflloe  as  well  as  any  set  of  letters  could  do  in 
a  similar  manner.  From  this  circumstance  we  may  conclude, 
that  the  Romans  were  acquainted  with  the  essence  of  printing, 
nothing  more  being  required  to  form  a  page,  than  to  increase 
the  length  and  number  of  the  lines,  which  would  have  been 
similar  to  the  first  printer's  rude  productions. 

It  must  appear  evident,  that  the  impressions  of  the  first 
printers  were  made  from  icooden  blocks,  after  the  method  prac- 
tised by  llie  Chinese.  Mr.  Bagford  thinks  that  the  hint  was 
taken  from  anrient  medals  and  seals. 

According  to  Vasari,  the  important  discovery  of  Chalcography 
was  made  by  Thomas  Finiguerra,  a  Florentine  goldsmith  of  the 
fifteenth  century,  who  lived  from  1400  to  14G0.  The  manner 
in  which  he  made  this  discovery,  is  thus  given  by  the  Rev.  T. 
F.  Dibdin. 

*' Of  engraving  upon  copper  the  earliest  known  impression  13 
that  executed  by  one  Thomaso  Finiguerra,  a  goldsmith  of  Flo- 
rence, with  the  date  of  1100  upon  it.  One  of  the  following 
circumstances  is  supposed  to  have  given  rise  to  the  discovery. 
Finiguerra  chanced  to  cast,  or  let  fall  a  piece  of  copper, 
engraved  and  filled  with  ink,  into  rnelti-d  sulphur:  and  observmg 
that  the  exact  impression  of  his  work  was  left  on  the  sulphur, 
he  repeated  the  experiment  on  moistened  paper,  rolling  it  <ientlv 
witii  a  roller.  This  origin  has  l)een  admitted  ijy  Lord  "W'alpole 
and  Air.  Land-^eer;  but  another  has  been  al-^o  mentioned  bv 
Iluber: — •'  It  is  reported,"  says  !ie,  "that  a  wu^hcr-woman  left 
si-me  linen  upon  a  plate  or  disli  on  whii'h  Finiguerra  had  ju^t 
tjeen  enoravin^".  and  tiiat  an  impression  of  the  subject  eniiraved, 
iKjwr'Ver  imperfect,  came  off  upon  the  linen;  occasioned  by  its 
\vei::ht  and  moi>tness."' 


Of  all  the  discoveries  wliicti  have  been  made,%ve  conceive  the 
relhctim,'-  mind  will  acknov/ledir,-.  tliat  nonc'  have  tended  more  to 
the  improvement^  ro.vl  comfort-^  of  ^ncictv  than  that  of  Pi-iatincT ; 
in  tnilli.it  would  ahiiM-t  be  imp(i<<ible  to  enumerate  ibe  advaii- 
t;i2-e<  d'Tiv'-d  by  all  [ireli-^ir  ,n<  IVe.m  tlie  stre;ims  of  this  m 
va!uabl(_>  iMuntnm,   tio^  main-'-prini'-  of  ;tll  'Hir  traui-aetiun?   in 


TYPOGRAPHIA.  41 

life.  It  has  been  justly  remarked  by  a  celebrated  writer,  that, 
were  the  starry  heavens  deficient  of  one  constellation,  the 
vacuum  could  not  be  better  supplied,  than  by  the  introduction 
of  a  printmg  press. 

The  more  we  reflect,  the  greater  becomes  our  surprise,  till  at 
length  we  are  lost  in  wonder  and  astonishment,  that  the  art 
should  have  lain  dormant  for  so  many  generations,  (when  the 
principle  was  so  universally  known,)  without  being  brought 
mto  general  use:  still  we  may  consider  it  fortunate  in  otner 
respects;  and  was,  no  doubt,  ordered  for  a  wise  purpose, 
because,  had  it  received  its  birth  during  the  dark  ages,  before 
civilization  began  to  dawn,  it  is  not  improbable,  (considering 
the  opposition  it  at  first  met  with,)  but  it  would  have  been 
strangled  in  its  infancy,  and  consigned  to  an  early  tomb!  But 
Providence  has  ordained  it  otherwise.  The  first  printers,  as 
though  aware  of  the  consequence  of  too  early  an  exposure, 
administered  an  oath  of  secrecy  to  their  servants ;  and  these 
deserving  individuals  indefatigably  labored  for  the  space  of 
twenty  years,  until  the  infant,  which  they  had  sedulously 
rocked  in  the  cradle  of  industry,  arrived  at  full  maturity  :  then 
it  was  that  this  noble  invention  filled  Europe  with  amazement 
and  consternation,  the  powerful  blaze  of  which  has  proved  too 
much  for  the  whole  phalanx  of  priests,  scribes,  and  their 
adherents,  to  extinguish.  On  finding  all  their  efforts  vain,  they 
artfully  pretended  to  turn  in  its  favor,  and  reported  it  to  be  a 
divine  gift,  fit  only  to  be  exercised  in  monasteries,  chapels,  and 
rpligious  houses  ;  and  tlie  printers  were  courted  to  fall  into  their 
\'ifws,  several  of  whom  accepted  tlie  invitation:  but  this  narrow 
policy  was  of  short  duration,  the  art  spread  with  too  rapid 
strides  to  be  confined  within  such  circumscribed  limits;  for  as 
llist  as  individuals  gained  a  knowledge  of  the  mystery,  they 
commenced  the  undertaking  in  ditferent  places ;  by  Avhich 
means,  those  who  had  till  then  remained  in  ignorancp,  gained 
a  true  sense  of  religion,  and  the  ciiicanerv  of  tlie  prie-^ts,  from 
that  period,  graduallv  became  more  apparent,  and  has  stink  into 
comparative  insignificance,  during  the  progress  of  the  glorious 
reformation. 


42 


TYPOCRAPIIIA. 


Viewing  the  subject  in  its  proper  liglit,  can  vre  too  highly 
prize  that  art,  which  ha?,  and  ever  must  continue  (in  opposition 
to  all  attempts  to  sliackle  it)  not  only  to  amuse  and  instruct  the 
young  ;  but  alsn  to  ciieer  and  console  the  aged,  while  journeying 
to  the  close  of  this  vale  of  tiars  ?  It  is  much  to  be  regretted, 
that  manv  of  those  on  whom  Providence  has  so  proi'usely 
lavished  lu-r  bounty,  should  Avithhold  their  assistance  to  the 
laborers  in  this  vineyard:  in  short,  this  art,  above  all  others, 
justly  deserves  to  be  encr.uraged;  because,  from  it  we  derive 
almost  everv  intiljectual  comfurt,  whicii  man  can  boast  on  this 
s'.de  thr-  orrave. 


TYPOGRAPHIA: 


THE   PRINTER'S   INSTRUCTOR. 


Though  hard's  our  task,  we  fearless  tread  this  ground, 

Hope  whispers  us,  "  No  xcork  is  perfect  found ;" 

Embolden'd  thus,  we  now  proceed  to  state, 

For  others'  use,  what  to  our  Art  relate  : 

Should  the  fastidious  Critic  vainly  try 

Our  best  endeavors  with  liis  jaundic'd  eye, 

Thes?  questions  let  us  ask,  to  set  him  right. 

That  he  may  view  us  in  a  favor'd  light: 

Has  tliy  eye  yet  a  perfect  work  e'er  seen? 

Look  not  from  us    for  what  has  never  been  ! 

How  can  imperfect  man  expect  to  find 

That  which  is  not  within  the  human  mind  ? 

Sach  being  the  case,  our  work  we  humbly  trust 

T'  the  Reader's  candor — Americans  are  just: 

To  serve  the  Art,  and  men's  good  will  attain, 

Should  we  succeed,  Ambition's  height  we  gain. 


Ix  performing  this  part  of  our  duty,  we  shall  endeavor,  to  the 
utmost  of  our  humble  ability,  to  explain  every  thing  in  as 
concise  and  clear  a  manner  as  possible;  at  the  same  time  we 
shall  omit  nothing,  however  trivial,  that  may  be  connected  with 
this  important  subject.  In  doing  this,  we  are  fully  aware  that 
some  will  condemn  such  minutiae  as  unnecessary:  but,  let  us 
ask.  is  jt  requisite,  because  a  few  are  acquainted  with  it,  that 
the  information  should  be  withheld  from  others'?  It  is  a  subject 
which  cannot  fail  to  interest  the  general  reader,  and  particularly 
so  all  the  admirers  of  the  Typographic  Art. 

When  any  one  pronounces  a  printing-ofuce  as  complete,  it 
ought  to  be  considered  as  a  mere  compliment,  because,  in  a 
strict  and  literal  spnse,  no  ofih^e  can  deserve  this  epithet,  unless 
't  is  furnished  with  all  the  fusil  metal  types  for  both  mod*  rn  and 
ancient  languages:  we  believe  that  scarcelv  anv  olTice  can  boast 


44  TYPOGKAPIIIA. 

he  apppllation.  In  truth,  to  supply  these  almost  unnecessary 
'bnts  would  only  waste  a  man's  j)rupertv  ;  it  is  sufficient  for  a 
printer  to  have  suitahle  types  for  the  language  of  the  country 
where  he  resides. 


PROPERTIES  AXD  SHAPES  OF  TYPES. 

The  Types  or  Letters,  most  generally  used  for  printing  in 
Europe  and  America,  are  termed  Roman,  Italic,  and  Old 
English,  or  Black  Letter. 


ROMAN    LETTER. 

RoMAJf  letter  has  long  been  held  in  the  highest  estimation; 
and  is  the  national  character  not  only  of  this  country,  but  also 
uf  England,  France,  Spain,  Portugal  and  Italy.  In  Germany, 
and  the  kingdoms  and  states  which  surround  the  Baltic,  letters 
are  used  which  owe  their  foundation  to  the  Gothic  character; 
but  even  in  those  nations,  works  are  printed  in  their  own  lan- 
guage Avith  Roman  letters.  The  reason  why  the  Germans,  and 
those  who  patronise  the  Gothic  characters,  have  not  altogether 
rejected  them  for  the  Roman,  has  been  chiefly  owing  to  their 
apprehensions  of  sharing  the  fate  of  the  primitive  printers,  who 
suffered  greatlv  in  their  attempt,  from  the  dislike  then  evinced 
by  the  learned  to  works  which  had  been  printed  in  that  character. 
This  compelled  thcnr  to  return  to  their  old  mode  of  using  the 
Gothic,  to  which  men  of  literature  were  more  accustomed,  from 
its  resemblance  to  the  writings  of  the  monks,  wliich  at  that  lime 
were  liekl  in  sfrf-at  veneration.  From  the  superstition  of  the  age, 
llie  inwer  flassi  s  were  easily  jjrevailed  on  to  reject  whatever  had 
the  lea.'^t  I'.ppearance  of  infriniring  on  mona-tic  inHuenee. 

The  same  rea-eii  may  be  a^'^iiriied  w!iy  tiie  Duteh  ;^till  adhere 
to  the  liliu'k  If  Iter  in  jirinting  liieir  bneks  of  devotion  and  reli- 
e-imis  treati-e<,  while  tliey  riiake  ust;  of  the  Roman  in  tlif'ir 
curieiis  and  1'  ariied  weirk-. 

In  Sweden  mueh  Greater  improvements  have  been  made, 
which  is  jjrincipallv  owing  to  the  c(auUenance  and  support  of 


TYPOGRAPHIA.  45 

nen  of  authority,  learning,  and  taste.  We  may  leasonably 
liope,  from  tlie  pleasing  aspect  of  the  present  age,  when  man- 
kind have  dared  to  burst  the  fetters  of  prejudice  and  superstition, 
being  determined  to  exercise  their  better  judgment,  and  adopt 
phms  more  congenial  to  true  taste,  that  the  Roman  character 
wdl  De  universally  employed  in  all  civilized  states. 

The  Roman  letter,  it  may  be  concluded,  owes  its  origin  to  the 
nation  whence  it  derives  its  name;  though  the  face  of  the 
present  and  ancient  Roman  letters,  materially  diflfer,  from  the 
improvements  they  have  undergone  at  various  times. 

That  good  Roman  makes  the  best  figure  in  a  specimen  of 
typography,  cannot  be  disputed  3  and  this  superiority  is  greatly 
improved  by  the  founders  of  the  present  day.  A  printer,  in  his 
choice  of  type,  should  not  only  attend  to  the  cut  of  the  letter, 
but  also  observe  that  its  shape  be  perfectly  true,  and  that  it  lines 
or  ranges  with  accuracy.  The  quality  of  the  metal  of  which  it 
is  composed,  and  the  finish  of  the  letter,  demand  also  his 
particular  attention,  as  the  great  competition  for  low  prices 
among  some  of  the  smaller  foundries,  (which  have  sprung  into 
existence  through  the  facilities  afforded  them,  of  multiplying 
matrices  by  the  Electrotype  process,)  has  induced  them  to  use 
an  inferior  metal,  and  to  turn  out  their  letters  without  du'^ 
regard  to  that  nicety  of  finish  so  necessary  for  proper  justiii 
cation. 

It  is  equally  important  that  types  should  have  a  deep  face, 
v.hii-h  will  depend  upon  the  depth  of  the  punches,  their  hollows 
being  in  proportion  to  tlie  width  of  the  respective  letters,  and 
likewise  that  the  letter  have  a  deep  nick,  which  should  differ 
from  othor  founts  of  that  buJv  in  the  same  house. 


ITALIC  LETTI-:U. 

For  tht  iiivenllriii  rfllds  Idler  ice  are  indehtcd  to  Aldus  ^Manidin^, 
by  hirlJi  a  Huiiifia,  v:!io  erected  a  pr'udui^:  office  in  Venice,  1495, 
vlierc  lie  inlnidncvd  [he  Roman  ti/pcs  (,f  a  ncider  cut,  and  <j:iivc 
birlJi  tn  titni  hra'ilifid  letter  witirh  is  kn<ni'a  l,,  ,n<isl  nirlinns  In/  the 
iuune   ^'t'  Itiiuc  :     ti;'j":!i   th      ''^niu/u.      .nd  iL   :;    o  !:i:rLuL- .  s!,.,ic 


46  TYPOGRAPHIA. 

tliemscli-es  as  vnsscncrous  in  Otis  respect  as  they  did  xcith  the 
Utjinan,  hij  calliifj;  it  Cursiv^  in  order  to  stiJJe  the  memory  of  its 
M-i;sinal  descent,  and  deprive  the  Remians  of  the  mcnt  due  to  their 
vv^enuity. 

In  the  first  instance  it  was  termed  Venitian,  from  Manutius 
being  a  resident  at  Venice,  where  he  brought  it  to  perfection  j 
but  not  long  after,  it  v.'as  dedicated  to  the  state  of  Italv,  to 
prevent  any  dispute  that  might  arise  from  other  nations  claim- 
ing a  priority. 

It;dic  was  originally  designed  to  distinguish  such  j)arts  of  a 
book  as  might  be  considered  not  strictly  to  belong  to  the  body  of 
the  workj  as  Prefaces,  Introductions,  Annotations,  i^c.  all  which 
sub-parts  of  a  work  were  ibrmerly  printed  in  this  character;  so 
that  at  least  two-fifihs  of  a  I'ount  was  comprised  of  Italic  letter. 

At  present  it  is  used  more  sparingly,  the  necessity  being 
supplied  by  the  more  elegant  mode  of  introducing  extracts 
within  inverted  commas,  and  poetry  and  annotations  in  a 
smaller  sized  type.  It  is  often  serviceable  in  distinguishing  the 
head  or  subject  matter  of  a  chapter  from  the  chapter  itselt^,  but 
is  too  often  made  use  of  to  emphasize  sentences  or  words 
without  any  direct  rule. 

That  this  character  was  not  designed  to  dislinauish  propei 
names,  nor  for  several  other  uses  to  which  it  has  been  ajjplied 
can  be  readilv  pmvtd,  even  from  works  printed  in  this  country. 
Manv  have  considered  it  as  depriving  Roman  of  its  beauty,  by 
loadiii<x  it  with  Italic  words  and  terms  of  common  signification 
and  meaning;  and  have  thourrht  it  inconsistent  to  intermix 
hlter  of  an  erect  posuion  with  that  of  an  oblique  iiir-lination. 

It  d^■st^ovs  in  a  great  measure  the  beauty  o'i  priiitinir;  and 
(<\\iw  confu'-r';  tlip  reader  wliere  it  is  improperly  applif-d,  Vv-ho. 
pau'=in:r  to  consider  wliy  such  words  are  moro  stron:;!y  noted, 
lns(  s  ilie  r-micxt  of  tie-  sentence,  and  has  to  ruvert  back  to 
r'-gaiii  tlif  S'.-n^f  of  hi-^  Mdiject. 

Italic  if  justly  firmed,  discovers  a  parti'Milar  de!icaL-y,  and 
requires  eon>iderabl(;  liintlifmalical  nicety  in  th*-  ].  tt'T-cutter  to 
ki.'.-ji  till'  ^lopiugs  within  ti,"  d'-grf-e  n'ljui-iie  f  t  ea^'li  body:  but 
thi'^  i-  not  ahvav^  ati(ie]"d  t^i.  a'j  a  want  I'f  unil'Tmitv  is  ton 
oiV' n  '^b:".l'tvl  il    in   TWO    Irttffs  'A'   a   parti'ulai    >"rT   coming   '.o 


TYPOGRAPHIA.  47 

gether,  wliicli  require  a  hair  space  between  them  to  prevent 
their  riding,  and  occasions  an  unpleasant  gap ;  this  is  too  fre- 
quently the  case  where  the  Italic  capitals  F,  T,  V,  and  W,  are 
fallowed  by  an  ascending  letter,  as  in  Florence,  Thames, 
Victory,  JVIieresoever,  &.c.  &c 


BLACK  LETTER. 

(Tljis  letter  tol)icl)  is  xtscb  in  ^nglanlr  an'b  America, 
bcscenbcti  from  tljc  (5otl)ic  tljararters:  it  is  calleb 
0otl)ic  bij  some,  anli  (Dlir  Q^nglisl)  brj  otljers;  but 
printers  term  it  Black  better,  on  acronnt  of  its  taking  a 
larger  compass  tl)an  eitljer  Uoman  or  Italic,  tl)e  full 
anb  spreading  strokes  tljcreof  appearing  more  black 
upon  paper. 

On  the  introduction  of  the  Roman  character,  the  use  of  black 
letter  began  to  decline,  and  it  was  seldom  used  except  in  Law 
works,  particularly  Statute  Lawj  it  was  at  length  expelled  from 
these,  and  only  made  its  appearance  in  the  heads  of  Law  blanKs, 
and  as  a  general  display  letter. 


DIFFERENT  SIZES  OF  PRINTING  LETTERS. 

The  several  bodies  to  which  printing  letters  are  cast  in  England 
and  America,  are  twenty  in  number,  viz. 

i   Diamond,  i  1   English. 

2  Pearl,  12  Columbian. 

3  Agate.  1 3  Great  Primer, 
i  Nonpareil.  14  Paragon. 

5  Minion.  15  Double  Small  Pica. 

G  Brevier.  16  Double  Pica. 

7  Bourgeois.  17  i>oubIe  English. 

c  Long  Primer.  18  Double  Great  Primer. 

9  Small  Pica.  19  Double  Paragon. 

l*.^  Pi''a.  20  Canon. 


48  TYPOGRArHIA. 

REGULAR  BODIED  LETTER. 

The  class  of  regular-bodied  letter  takes  in,  viz.  Great  Primer, 
English,  Pica,  Long  Primer,  Brevier,  Nonpareil,  and  Pearl; 
and  those  which  go  before  them,  viz.  Canon,  Double  Great 
Primer,  Double  English,  Double  Pica,  &c.  principally  used  in 
jobs,  to  make  emphatical  words  or  Unes  appear  conspicuous. 


IRREGULAR  BODIED  LETTER. 

The    general   sorts   of    irregular-bodied    letters    are.    Paragon 
Columbian,  Small   Pica,    Bourgeois,    Minion,   and    Diamond. 
We  call  them  irregular,  because  they  are  of  intermediate  sizes 
to  letter  of  regular  bodies;  a  standard  for  which,  no  doubt,  was 
fixed  by  former  printers  and  founders. 

Among  the  irregular-bodied  sorts  of  letter  none  has  taken  so 
great  a  run  as  Small  Pica;  and  very  considerable  works  have 
been  done  in  that  character.  Sec.  It  is  a  letter,  indeed,  which 
has  now  become  the  favorite  character  to  do  voluminous  works 
in;  partly,  because  it  is  a  round  and  legible  letter,  and  partly 
because  it  takes  in  considerably  more  matter  than  Pica. 


CHAPTER   II. 

A  FOUNT  OF  LETTER,  AS  CONSIDERED  BY 
LETTER  FOUNDERS. 

A  coMPLKTE  fount  of  letter  is  comprised  under  nine  heads,  in 
which  is  contained  iVie  following  sorts : — 

L     Capitals. 

ABCDEFGHIJKLMNOPaRSTUVWX 
YZiECE. 

2.     Small  Capitals. 

ABCDEFGHIJKLMNOPqRSTU 
V  W  X  Y  Z  .E  CG   . 

3.     Lower  Case. 

abcdefghijklmnopqrstuvwx 
y  z  a;  03  & . 

4.     Figures. 
1234567S9  0. 

5.     Points,  etc. 
,  ;  :  .  7  !  -  '  ()  []  M  t  §  1  1. 

G.  Four  kinds  of  spaces. 

7.  Em  and  en  quadrats. 

S.  Two,  three,  and  four  em  quadrats. 

9.  Accents. 

These  are  the  ordinary  sorts  cast  to  a  fount  of  letter,  and 
which  the  founders  divide  into  long,  short,  ascending,  descend- 
ing, and  kerned  letters. 


50  TYPOGRAPHIA. 

Long  letters  are  those  wliicli  lake  up  the  whole  depth  of 
iheir  bodies,  and  are  both  ascending  and  descending,  such  in  the 
Roman,  as  Q,  and  j,  but  in  the  Italic,/  is  a  long  luwer-case 
letter. 

Short  letters  are  all  such  as  have  their  face  cast  on  the 
middle  of  their  square  metal,  by  founders  called  shank,  as  a,  c, 
e,  m,  n,  o,  r,  s,  u,  v,  w,  x,  z,  all  which  will  admit  of  being 
bearded  above  and  below  their  face,  bolli  in  Roman  and  Italic. 


Ascending  letters  are  all  the  Roman  and  Italic  capitals;  in 
the  lower  case,  b,  d,  f,  h,  i,  k,  1,  t. 

Descending  letters  are  g,  p,  q,  y,  in  Roman  and  Italic, 


Kerned  letters  are  such  as  have  part  of  their  face  hanging 
over  either  one  or  both  sides  of  their  square  metal  or  shank.  In 
Roman,  f  and  j  are  the  only  kerned  letters;  but  in  Italic,  </,  g,j 
i,  y,  are  kerned  on  one  side,  and  /  on  both  sides  of  its  face. 

Casting  of  the  above  sorts  being  attended  with  considerable 
trouble,  accounts  for  the  founders  sending  so  few  of  them  in  a 
fount  of  letter,  when  in  fact  they  require  a  larger  number  than 
their  casting  bill  specifies ;  their  beaks  being  liable  to  accidents, 
especially  the  Roman  f,  when  at  the  end  of  a  line.  Kerned 
letters  of  the  Itali",  especially  /,  g-,  J,  and  y,  are  also  subject  to 
the  same  risk. 

Most  Italic  capitals  are  kerned  on  one  side  of  their  face;  hut 
lunie  ouirht  to  be  more  attended  to  than  F,  T,  J\  JJ\  and  V, 
that  ihfir  angles  may  not  fall  upon  an  ascending  letter  that  may 
stand  Hi'Xt  tu  them. 


DOUBLE  LETTERS. 

Dount.K  i.KTTKRs  Were  originally  formed  for  the  convenience 
of  one  kenu'd  letu^r  joining  with  another,  as  in  the  instance  of  a 
<f,  fl',  11,  fi,  ft,  8cc..  ns  their  beaks  Avould  inevitably  receive 
damage  unl(>ss  ihev  were  can  in  one  jiiece. 


TYFOGRAPHIA.  51 

Of  the  number  formerly  used  few  now  remain,  and  those 
permitted  only  through  necessity,  as  the  fi,  ff,  fl,  ffi,  and  ffl 
Tlie  introduction  of  the  round  s,  instead  of  the  long,  was  looked 
upon  as  a  valuable  improvement  in  the  art  of  printing,  and  we 
see  no  reason  why  the  beak  of  the  f  could  not  be  gracefully 
thrown  back  on  its  own  body,  and  thereby  save  the  founder  the 
inconvenience  of  kerning  it,  and  the  printer  the  expense  and 
trouble  of  kerned  and  double  letters. 


A  BILL   OF  PICA,  ROMAN  AND  ITALIC. 

This  part  of  our  Avork  might  be  extended  to  a  considerable 
length,  were  we  to  enter  into  the  minutias  of  the  different  sorts 
requisite  to  form  a  complete  fount  for  every  language  printed 
in  the  Roman  character;  but  as  this  would  be  carrying  us 
beyond  our  limits,  we  shall  confine  ourselves  to  the  improved 
scale  of  the  present  day,  calculated  for  our  own  language,  to 
wliich  imperfections  may  be  afterwards  cast,  so  as  to  render  the 
fount  serviceable  for  any  other.  The  Latin  and  French  require 
more  of  c,  i,  1,  m,  p,  q,  s,  ii,  and  v,  than  the  English:  but 
until  such  sorts  become  really  necessary,  it  would  be  useless  to 
cast  them.  When  a  work  is  completed  for  which  such  extra 
sorts  were  required,  it  may  then  be  proper  to  prevent  their  re- 
maining inactive,  to  cast  up  to  them. 

It  is  well  known  in  practice  that  a  great  number  of  imperfec- 
tions are  always  wanted  in  a  printing  office;  and  from  the 
construclion  of  language  it  appears  there  always  will  be  a  great 
number  of  particular  sorts  dt  ficient,  whatever  the  proportions 
mav  be  at  first.  In  proof  of  this  it  may  be  stated,  that  a  new 
fount  of  letter  shall  be  cast  for  the  purpose  of  printing  a  work; 
in  composing  this  letter  it  shall  be  found  iliat  there  is  a  great 
deficiency  of  some  letters,  and  a  superabundance  of  others;  to 
bring  the  whole  fount  into  use,  for  the  purpose  of  composing  as 
many  pages  as  possible,  the  deficient  sorts  are  cast,  till  the 
proportions  answer  to  each  other.  "When  this  work  is  finished, 
another  author's  work  is  to  be  printed  with  the  same  letter  :  the 
disproportion  is  again  felt;  those  which  at  the  first  were  defi- 


52  TYPOGRAPHIA. 

cient  are  now  superabundant,  and  those  which  were  abundant 
will  be  deficient;  so  that  the  master  printer,  to  keep  the  whole 
of  his  letter  in  use,  is  obliged  to  be  continually  casting  those 
deficiencies  and  thus  enlarging  his  founts. 

Formerly  a  fount  of  letter,  weighing  500  pounds,  was  consi- 
dered a  good  sized  fount;  but  now,  so  much  has  printing 
increased,  that  double  that  weight  would  scarcely  acquire  tne 
appellation. 

Upon  this  subject,  we  find  that  a  fount  of  English,  at  Pans, 
which  formerly  set  up  about  twelve  sheets  of  a  Surgeon's  Case, 
in  quarto,  was  much  admired  on  account  of  its  extraordinary 
weight;  this  observation  drew  the  following  remark  from  an 
English  printer: 

"  But,  how  much  would  their  admiration  be  heightened, 
were  they  to  see  here  several  founts  larger  than  that :  and  one 
in  particular  of  the  late  Mr.  Richardson's,  which  set  up  above 
thirty  sheets  m  folio,  of  77  lines  long,  and  45  m's  Avide,  before 
imperfections  were  cast  to  it,  which  must  be  very  considerable  in 
course,  and  have  enlarged  the  fount  to  several  more  sheets." 

Either  of  the  above  amazing  founts  (as  then  considered) 
would,  at  the  present  day,  be  thought  of  a  trifling  nature.  The 
Messrs.  Hansards,  proprietors  of  a  celebrated  Enghsh  printing 
iiouse,  have  founts  of  English  and  Pica,  the  former  of  which, 
we  are  informed,  will  set  up  betAveen  three  and  four  hundred 
.sheets  of  foolscap  folio,  and  that  the  latter  will  extend  to  nearly 
six  hundred  sheets  of  the  above:  thoy  have  also  most  of  the 
other  founts  of  very  considerable  extent. 

Printers  divide  a  fount  of  letter  into  two  classes. 

I .     The  upper  case  )  , 

9..      Tlua  lower  ciwie  5     ' 

'I'iio  upper  case  sorts  are  capitals,  small  capital  letters  and 
references. 

The  lovvi^r  case  consists  of  small  letters,  double  loiters,  figures, 
points,  spaces,  quadrats,  fcc.  each  of  which  v.'e  shall  treat  of 
under  distinct  lieads. 

We  shall  now  give  wliat  is  reckoned  by  tlie  founders  a  regu- 
lar bill,  perfect  m  all  its  sorts. 


lYPOGRAPHIA. 

53  j 

A    FOUNT 

OF    PICA    WEIGHING   800  Ibs. 

Italic  One-tenth  of  Roman. 

a 

8500 

5 

4500 

A           600 

A 

300 

b 

1600 

) 

800 

B           400 

B 

200 

c 

3000 

600 

C           500 

C 

250 

d 

4400 

, 

2000 

D           500 

D 

250 

e 

12000 

- 

1000 

E           600 

E 

300 

f 

2500 

? 

200 

P           400 

F 

200 

g 

1700 

! 

150 

G          400 

G 

200 

1 

h 

G400 

7 

700 

H          400 

H 

200 

1 

1 

i 

8000 

[ 

300 

I            800 

I 

400 

1 

j 

400 

150 

J            300 

J 

150 

1 

ic 

800 

* 

100 

K           31)0 

K 

150 

1 

4000 

t 

100 

L           500 

t, 

250 

m 

3000 

t 

100 

M          400 

M 

200 

a 

8000 

§ 

100 

N           400 

N 

200 

0 

8000 

II 

100 

0           400 

O 

200 

P 

1700 

If 

GO 

P           400 

P 

200 

q 

500 

a       180 

Q. 

90 

r 

6200 

1 

1300 

R          400 

R 

200 

s 

8000 

2 

1200 

S           500 

S 

250 

t 

9000 

3 

1100 

T           650 

T 

326 

u 

3400 

4 

1000 

U           300 

U 

150 

V 

1200 

5 

1000 

V           300 

V 

150 

w 

2000 

6 

1000 

W         400 

w 

200 

X 

400 

7 

1000 

X           180 

X 

90 

y 

2000 

8 

1000 

Y          300 

Y 

150 

z 

200 

9 

1000 

Z             80 

Z 

40 

& 

200 

0 

1300 

M           40 

jE. 

20 

i 

ff 

400 

(E           30 

(E 

15 

fi 

500 

e 

200 

ffl 
ffi 

200 
100 
150 
100 
60 

a 
e 

200 
200 
200 

Spaces. 
Thick 
Middle 

18000 
12000 

[ 

j 

03 

Thin 

8000 

i 

03 

All  other 

Hair 

3000 

150 

accents  100 

em  duads 

2500 

i 



each. 

en  duads 

5000 

90 

Large  Quadrats 

about 

1 

1  bUlbs. 







i 

51  TYPOGRAPHIA. 

CAPITALS. 

The  use  of  capitals  has  been  considerably  abridged  of  late 
years ;  and  the  antiquated  method  of  using  them  with  every 
substantive,  and  sometimes  even  with  verbs  and  adverbs,  is  now 
discontinued.  They  are  considered,  in  the  present  day,  as 
necessary  only  to  distinguish  proper  names  of  persons,  places, 
Sec.  There  are,  however,  some  particular  works  in  which 
authors  decui  it  essential  to  mark  emphatical  words  with  a 
capital;  in  such  cases,  as  there  can  be  no  general  rule  to  guide 
the  compositor,  we  Avould  recommend  the  author  always  to 
send  his  copy  properly  prepared  in  this  particular,  to  the  printer, 
or  he  will  become  liable  to  the  charge  the  compositor  is  allowed 
to  make,  for  his  loss  of  time  in  following  his  alterations.  The 
method  of  denoting  a  capital,  or  words  of  capital  letters  in 
manuscript,  is  by  underscoring  it  with  three  distinct  lines. 

Capitals  of  whatever  body,  if  they  arc  well  proportioned,  look 
well  in  titles,  inscriptions.  Sec,  but  it  requires  both  good  taste 
and  judgment  in  the  compositor  to  display  them  to  advantage, 
either  by  sj)acing  them  or  not,  as  the  length  of  the  line  may 
require. 


SMALL  CAPITALS. 

Smai.t,  capitals  are  in  general  only  cast  to  Roman  foimts,  ImU 
in  England  often  to  Italic,  and  are  used  for  the  purpose  ot 
giving  a  stronger  emjihasis  to  a  word  than  can  be  conveyed  to 
it  by  its  being  in  Italic.  They  are  likewise  used  for  running 
heads,  heads  of  chapters,  kc.  instead  of  Italic,  according  t(j  tiit» 
fancy  of  the  printer.  The  lirst  word  of  every  section  or  cliapter 
is  gc'nerallv  put  in  small  capitals,  alter  a  small  neat  two  lin^■ 
IciUr.  Tlir'v  are  likewise  of  consideralde  service  in  the  display 
of  a  liile  \y,\'Z('.  jjarticularly  in  setting  the  catch  lines. 

Th<'  small  capitals  c,  o.  s,  V,  w,  x,  z,  so  closely  resemljJe  iIk; 
same  letters  in  the  lower  case,  as  to  require  particular  care  to 
prevf  nt  their  mixing,  as  tlie  difference  can  only  Ijc  a>certained 
by  llieir  being  cast  tliicker  than  the  others.  As  a  distinguishijig 
!(  aturi'.  however,  the  nic!c  might  be  cast  somewhat  higher  on 
liie  ujjper  case  '-ijrt-^, 


TYPOGRAPHIA.  55 

In  manuscript,  small  capitals  are  denoted  by  having  two  lines 
drawn  under  them. 


ACCENTED  LETTERS. 

Those  which   are   called   accented   by   printers,  are  the  five 
vowels,  marked  either  with  an 


Acute 

a  e  i  6  u 

Grave 

a  e  i  0  u 

Circumflex 

d  e  1  6  u 

Diaeresis 

a  e  i'  o  ii 

Long 

a  e  I  5  ij 

Short       - 

a  e  1  6  u 

REFERENCES. 

References  are  all  such  marks  and  signs  as  are  used  m 
matter  which  has  either  side  or  bottom  notes,  and  serve  to  direct 
the  reader  to  the  observations  which  are  made  upon  such  pas- 
sages of  the  text  as  are  distinguished  by  them,  and  demand  a 
reference  of  the  same  likeness  to  be  put  to  the  notes,  by  which 
the  matter  is  illustrated,  or  otherwise  taken  notice  of. 

References  which  are  used  in  works  with  notes  to  them,  are 
variously  represented,  though  oftcner  by  letters  than  other 
characters.  Accordingly  some  put  common  letters  between 
oarenlhesis;  thus  (n,)  (Z*,)  (c,)  &c.  Others  again,  choose  to  see 
them  between  brackets,  as  [a,]  [Z>,]  [c,]  and  so  on  to  the  end  of 
the  alphabet;  instead  of  these,  some  begin  the  notes  of  every 
page  with  («,)  in  Avhich  they  are  as  right  as  the  former;  and 
have  this  advantage  besides,  that  the  order  of  references  is  nut 
so  liable  to  be  interrupted  as  by  going  through  a  whole  alphabet. 
We  would  recommend,  however,  hteral  references  to  begin 
with  every  even  page,  if  it  has  notes;  and  to  carry  them  no 
further  than  to  the  last  note  in  the  opposite  uneven  page;  by 
which  means  the  order  of  the  references  would  appear  at  one 
view,  and  any  irregularity  in  them  rectified  without  much 
trouble. 


5G  TYPOGRAPHIA. 

Instead  of  letters,  whether  capital  or  lower-case,  figures  are 
used  in  the  same  manner,  and  also  with  equal  propriety  j  for  the 
one  as  well  as  the  other  are  of  like  signification,  when  used  for 
the  same  purpose:  but  the  references  which  look  the  neatest, 
besides  being  tlie  most  proper,  are  superior  letters,  or  else 
superior  figures;  for  botli  were  originally  contrived  and  intended 
to  be  employed  in  niatter  that  is  explained  by  notes,  whether  by 
way  of  annotations,  quotations,  citations,  or  otherv/ise.  Never- 
theless, we  observe  that  superior  letters  are  not  used  upon 
every  occasion,  but  chiefly  in  large  and  lasting  works,  which 
have  sometimes  more  than  one  sort  of  notes,  and  therefore 
require  difl'erent  references;  in  which  case  not  only  superior 
letters,  but  also  such  marks  are  used  as  never  were  designed  to 
serve  for  references.  But,  to  abide  by  the  title  of  this  article, 
what  are  called  rel''erences  by  printers  are  the  following : 

Asterisk  *      I      Double  Dagger  |      I       Parallel        [j 
Dagger    f       j      Section  §      |       Paragraph  'J 

The  above  are  the  names  and  figures  which  founders  reckon 
among  the  points,  and  are  denominated  references  by  printers; 
these  characters  were  designed  to  serve  for  other  purposes  than 
those  to  vv'hich  tliey  have  been  applied,  a-^  will  appf^ar  from 
their  respective  functions. 

1.  The  Astprisk  is  the  chief  of  the  r('ferenc<"'=:,  and  presents 
itself  most  readily  to  the  eyo,  on  account  of  having  its  figure  on 
tiie  top,  and  leavin:,''  a  bl-mk  belov,-,  wliich  makes  it  a  sup(;rir)r. 

In  Human  church-books,  the  Asteri-k  divides  each  verse  of  a 
psalm  into  two  jjarts,  and  marks  wliere  the  responses  be^-in, 
which  in  our  Common  Prayer  Books  is  done  by  placing  a  colon 
between  thf  two  parts  (.f  eacli  V(  rse. 

Tiicy  are  sonictiines  used  to  sup])!y  the  name  ot'  a  persfin 
that  choii-.'S  to  pa,--^  aiionvuiou-.  Th<-y  uImj  d'-not>>  an  oiiii-^- 
siiin,  or  an  hialii-'.  by  lo-s  n[  original  I'opy:  in  whii'h  ca--^'  t!ie 
nuiubi-r  of  a<tpri--ks  ar*'  muhiplii'd  acrordino'  t'j  the  lar^en^s-  of 
t!i'"'  chasm;  and  nut  only  wiifl''  ]iiif<,  but  iVrqui  nilv  whule 
pag!--,  arc  left  Ijlank,  and  marl;i'd  with  lines  of  stars. 

In  saiiri'^iii^'  p'T.-en-^  in  paiiiphl'-ts  and  public  papers,  the 
asterisk  is  of  irrt.-at  s^rviiv  ;  fir  i:  i<  })ut  putting:  t!ie  first  letter  of 
a  person's  nanii',  wi'h  <'nar^  a<t' ri-k-^   aff'-r  it.  and  ill-naturf  J 


TYPOGRAPHIA.  57 

people  think  they  may  characterise,  and  even  libel  their  betters 
without  restriction.  Metal  rules  or  dashes,  also  serve  for  the 
above  purposes  as  Avell  as  Asterisks. 

2.  The  Dagger,  originally  termed  the  Obelisk,  or  Long  Cross, 
is  frequently  used  in  Roman  Catholic  church-books,  prayers  of 
exorcism,  at  the  benediction  of  bread,  water,  and  fruit,  and  upon 
other  occasions,  where  the  priest  is  to  make  the  sign  of  the  cross ; 
but  it  must  be  observed,  that  the  long  cross  is  not  used  in  books 
of  the  said  kind,  unless  for  want  of  square  crosses,  (»i*,)  which 
are  the  proper  symbols  for  the  before-mentioned  purposes;  and 
are  used  besides  in  the  Pope's  briefs,  and  in  mandates  of  arch- 
bishops and  bishops  who  put  it  immediately  before  the  signature 
of  their  names.  But  the  square  cross  is  not  reckoned  among 
the  references  of  which  we  are  speaking;  whereas,  the  long 
cross  answers  several  purposes;  for  besides  serving  instead  of  a 
vsquare  cross,  it  also  answers  for  a  signature  to  matter  that  has 
been  either  omitted,  or  else  added,  and  which  is  intercalated 
after  the  work  is  gone  beyond  the  proper  place  for  it.  But  the 
chief  use  which  is  made  of  the  dagger,  is  by  way  of  reference, 
where  it  serves  in  a  double  capacity,  viz.  the  right  way,  and 
inverted. 

3.  The  Double  Dagger  is  a  mark  crowded  in  to  make  one  of 
the  improper  references. 

4.  The  Parallel  is  another  sign  which  serves  for  a  reference, 
and  is  fit  to  be  used  either  for  side  or  bottom  notes. 

5.  The  sign  which  implies  the  word  Section,  is  a  sort  hkewise 
seldom  employed,  because  in  a  work  which  is  divided  into 
chapters,  articles,  paragraphs,  sections,  or  any  other  parts,  tliey 
are  commonly  put  in  hnes  by  themselves,  either  in  large  capitals, 
small  capitals,  or  italic,  according  to  the  size  of  the  work.  But 
tne  sign  of  section  is  sometimes  used  in  Latin  notes,  and  parti- 
cularly such  as  are  collected  from  foreign  books,  which  generally 
abound  with  citations,  because  the  introduction  induces  the 
reader  to  account  his  author  very  learned. 

6.  The  Paragraph  is  a  mark  which  formerly  was  prefixed  to 
such  matter  as  authors  designed  to  distinguish  from  the  mean 
contents  of  their  works ;  and  which  was  to  give  tlie  reader  an 
Item  of  some  particular  subject.     At   present,  paragraphs  are 


58  TYPOGRAPHIA. 

Been  only  in  Bibles,  where  they  siiow  the  parts  into  which  a 
chapter  is  divided,  and  where  its  contents  change.  In  common 
Prayer  Books,  paragraphs  are  put  before  the  matter  that  directs 
the  order  of  the  Service,  and  which  is  called  the  Rubric: 
because  those  lines  were  formerly  printed  in  red.  Otherwise  it 
is  a  useless  sort,  and  unfit  to  serve  for  a  reference,  as  long  as 
there  are  others  which  have  not  that  antique  appearance. 

Thus  we  have  shown,  that  the  symbols  which  are  used  as 
references,  were  designed  for  quite  different  purposes.  We  are 
therefore  of  opinion,  that  it  would  not  have  been  one  of  the  least 
improvements,  had  some  other  marks  been  devised  which  should 
have  appeared  in  a  more  becoming  shape  than  the  above 
references,  and  more  perspicuous  than  superiors  of  the  least 
size. 


LOWER-CASE  SORTS. 
Having  already  considered  tlie  lower  case  alphabet,  we  shall 
merelv  notice  those  sorts  which  have  not  been  already  treated 
on.  Those  termed  lower  case-sorts,  are,  the  small  letters  of  the 
alphabet,  double  letters,  points,  the  bracket  and  parenthesis, 
spaces  and  quadrats.  Of  these  i,  v,  x,  1,  c,  are  numeral  letters, 
and  are  generally  used  in  notes;  the  d,  or  m,  seldom  appear  in 
lower-case  numerals,  though  tlieir  power  is  not  inferior  in 
calculation  to  capitals,  as  they  are  governed  by  the  same  rules. 


POIXTS. 

Thlv  fonsist  of  a  comma,  semicolon,  colon,  period  or  tull-point. 
note  of  interrogation  and  note  nf  admiration. 

Points  aro  not  of  equal  aiitiqmty  with  printing,  though,  not 
ions  after  its  invi-ntion.  the  necf'ssity  of  introducing  stops  or 
j)aus(s  in  scntfnci'S,  for  thp  guidance  of  the  reader,  bruught 
forward  th*'  colon  and  full-point,  tlv  two  fir5t  invented.  In 
process  of  lime,  the  comtna  was  added  to  the  infant  punctuation, 
v,-iucu  then  had  no  oUier  liLuire  than  a  perpi-ndicular  line, 
])roportionahl''  to  tli"  body  of  t'ue  Ictt'^r;  lh"«e  t!ir«.e  points  were 
tlie  onlv  ones  used  till  \\ip  cljse  of  the  fifteenth  er-nturv.  when 


TYPOGRAPHIA.  59 

Aldus  Maiiutius,  a  man  eminent  for  the  restoration  of  learning, 
among  other  improvements  in  the  art  of  printing,  corrected  and 
enlarged  the  punctuation,  by  giving  a  better  shape  to  the  comma, 
adding  the  semicolon,  and  assigning  to  the  former  points  a  more 
proper  place;  the  comma  denoting  the  smaller  pause,  the  serai 
colon  next,  then  the  colon,  and  the  full-point  terminating  the 
sentence.  The  notes  of  interrogation  and  admiration  were  not 
introduced  till  many  years  after. 

Perhaps  there  never  existed  on  any  subject,  among  men  of 
learning,  a  greater  difference  of  opinion  than  on  the  true  mode 
of  punctuation,  and  scarcely  can  any  two  people  agree  in  the 
same  method;  some  making  the  pause  of  a  semicolon  where  the 
sense  will  only  bear  a  comma;  some  contending  for  what  is 
termed  stiff  pointing,  and  others  altogether  the  reverse. 

The  want  of  an  established  rule  in  this  particular  is  much  to 
be  regretted.  The  loss  of  time  to  a  compositor,  occasioned, 
often  through  whim  or  caprice,  in  altering  points  unnecessarily, 
is  one  of  the  greatest  hardships  he  has  to  complain  of  in  the 
progress  of  his  profession. 

Scarcely  nine  works  out  of  ten  are  sent  properly  prepared  to 
the  press;  either  the  writing  is  illegible,  the  spelling  incorrect, 
or  the  punctuation  defective.  The  compositor  has  often  to  read 
sentences  of  his  copy  more  than  once  before  he  can  ascertain 
what  he  conceives  the  meaning  of  the  author,  that  he  may  not 
deviate  from  him  in  the  punctuation;  this  retards  him  consi- 
derably. But  here  it  does  not  end — he,  and  the  corrector  of  the 
press,  though,  perhaps,  both  intelligent  and  judicious  men, 
differ  in  that  in  which  few  are  found  to  agree,  and  the  compo- 
sitor has  to  follow  either  his  whim  or  better  opinion.  The  proof 
goes  to  the  author — he  dissents  from  them  both,  and  makes 
those  alterations  in  print,  which  ought  to  have  rendered  his 
manuscript  copy  correct. 

The  late  Dr.  Hunter,  in  reviewing  a  work,  had  occasion  to 
censure  it  for  its  iiiiproprr  punctuation.  He  advises  authors  to 
leave  the  pointing  entirely  to  the  printers,  as  from  their  constant 
firactice  thoy  must  have  acquired  a  uniform  niodo  of  punctua- 
tion. We  arp  decidodly  of  tliis  npinjon ;  for  unlo'-s  the  author 
will  tai;e  th^  re.-pnnsibilitv  of  tho  poin-iiiig  <=n;irfl\  en  him.'elf.  it 


GO  TYPOGRAPPIIA. 

■will  be  to  the  advantage  oi^  the  compositor,  and  attended  with 
less  loss  of  time,  not  to  meet  -wiili  a  single  point  in  his  copy, 
unless  to  terminate  a  sentence,  than  to  have  his  mind  confused 
by  commas  and  semicolons  placed  indiscriminately,  in  the  hurry 
of  writing,  witliout  any  regard  to  propriety.  The  author  may 
reserve  to  himself  his  particular  mode  of  punctuation,  by 
directing  the  printer  to  point  his  work  either  loosely  or  not,  and 
still  have  the  opportunity  of  detecting  in  his  proofs  whether  a 
misplaced  point  injures  his  sentence.  The  advantage  resulting 
from  this  method  would  ensure  uniformity  to  the  Avork,  and 
remove  in  part  from  the  compositor  a  burthen  which  has 
created  no  small  degree  of  contention. 

Having  considered  it  our  duty  to  enter  thus  fully  on  a  subject 
thai  so  materially  concerns  the  compositor,  we  will  now  proceed 
to  the  points  themselves. 

The  comma,  which  is  considered  the  first,  from  its  requiring 
the  shortest  pause,  its  time  being  till  you  can  reckon  one,  is 
more  frequently  used  and  misapplied  than  any  of  the  other 
points.  Its  unnecessary  introduction  often  involves  the  reader 
in  perplexity ;  and  its  omission  blends  sentences  that  should  be 
kf'pt  distinct — and  in  unskilful  hands  may  pervert  the  meaning 
of  tlie  author,  and  r'  nder  it  ridiculous.  The  most  acceptable 
mode  seems  to  be  what  is  termed  easy  point inu:.  which  certainly 
has  the  advantage  oi'  not  confusing  the  reader.  All  subjects. 
howevrr.  should  not  be  point<'d  alike;  as  familiar  discourses,  or 
hi^tori<-al  and  narranve  subjects,  do  not  require  so  many  points 
a-  explanritdry  ami  I/nv  matter. 

(,'onimas  are  u-^ed  to  denc/te  extracts  or  quotation'-  I'rom  (nijer 
wnrks,  in  dialogue  matter,  or  any  passages  nr  expres'-ions  ufit 
eri::inal.  by  invf-rting  tv.-o  of  them,  and  placnig  tiiem  befnri'  ihe 
jia^^HL^es  qu'.ti-d.  and  cldsiiig  sueh  pa.-sage  with  two  ajins- 
truphe-;.  Tiie>c  are  termed  inverted  coninias;  and  when  u^'-d, 
a  thin  sjKiee  i-  sutlicieiit  t')  k'-ep  them  fn-f  froui  ihi'  matter. 
'I'll"  ni'-ih^'d  I  if  runninir  tliem  do'wn  the  sides  to  '.he  I'lid  of  the 
queiaiiMii.  ha^  b'^i-ii  fmind  ineon veuii'iu,  pariicularly  whert-  a 
ouDtaiien  ii(TUj>  v.itiiiii  a  ijUnt;uion.  e'r  a  s])ei_.r!i  A\-ithjn  a 
speceli  ;  tiie  jiriqi'T  ni' iIi'kI  ef  r!i>iin:rni-iiinu:  wliicii,  is  by 
tuaciii!::  a  sin^'le  in\'-r'ed  comiuLi.  b-fore  su(:h   extra  quotation. 


TYPOGRAPIIIA.  61 

and  to  be  concluded  with  a  single  apostrophe :  or  should  both 
quotations  close  together,  put  three  apostrophes,  observing  after 
ihe  first  to  place  a  thin  space. 

Inverted  commas  owe  their  origin  to  Mons.  Guillemet,  a 
P"'renchman,  Avho,  it  may  be  supposed,  was  no  friend  to  Italic, 
they  being  intended  to  supersede  the  use  of  that  letter.  As  an 
acknowledgment  for  this  improvement,  his  countrymen  call 
them  after  his  name. 

A  single  comma  inverted  is  used  as  an  abbreviation  to  the 
word  Mac,  as  in  the  instance  of  ArGowen. 

The  semicolon  is  allowed  double  the  space  of  time  for  its 
pause  to  the  comma,  and  may  be  considered  an  important  poml 
of  punctuation;  it  enforces  what  has  been  illustrated  by  the 
comma,  and  allows  the  reader  an  opportunity  to  acquire  a 
perfect  view  of  the  sentence,  before  it  is  terminated  by  the  full- 
point. 

The  colon,  whose  allowed  time  is  till  the  reader  can  count 
three,  has  been  superseded  in  almost  every  instance,  either  by 
the  semicolon,  eUipsis  line  or  dash. 

The  period  or  full-point  is  used  to  terminate  a  sentence,  and 
its  pause  is  double  the  time  allowed  to  the  semicolon.  It  is  also 
used  in  abbreviations,  but  then  loses  its  effect  as  a  full  stop  in 
the  punctuation,  unless  at  the  end  of  a  sentence.  Many  works 
have  recently  been  printed,  in  which  this  point  has  been  entirely 
dispensed  with  as  an  abbreviation,  as  in  Mr  Dr  &.C.,  a  very 
convenifnt,  if  not  an  eh^gant  mode. 

Full- points  are  somptimos  used  as  leaders  in  tables  of  contents, 
figure-work,  &.C.,  but  dotted  rules  or  leaders  are  nmch  better  for 
this  purpose,  from  their  uniform  appearance,  as  they  not  only 
supply  the  place  of  full-points  and  quadrats,  but  save  considera- 
ble time  in  the  composition. 

The  siirn  of  interrogation  needs  not  to  be  explained,  for  the 
very  appeJlatiiMi  tells  us,  that  it  is  a  mark  which  is  used  to  sliow 
wh(M-e  a  question  is  proposed,  that  gives  room  for,  or  d(Mnands, 
an  answer. 

It  is  not  only  proper,  l)ut  also  requisite,  that  every  interroga- 
tion or  question  should  begin  witii  a  larofe  letter,  whether 
ca;)itals  are  used  in  the  matter,  or  not;  according  to  the  method 


G2  TYPOGRAPHIA. 

which  is  observed  in  oui  Bibles,  where,  as  well  interrogatives 
as  responses,  besides  the  beginnin;^  of  sayings,  allocutions,  Sec. 
are  intimated  by  a  large  capital  letter. 

Tlie  sign  of  admiration,  or  exclamation,  likewise  explains 
itself  by  its  name,  and  claims  a  place  where  surprise,  astonish- 
m'^nt,  rapture,  and  the  like  sudden  emotions  of  the  mind  are 
expressed,  whether  upon  lamenting  or  rejoicing  occasions. 

The  sign  of  exclamation  is  put  after  the  particles  Ah!  Alas! 
O !  kc,  though  the  last  is  not  always  of  that  force  to  be  attended 
hv  the  exclamatory  symbol:  but  is  softened  by  a  comma,  to 
enforce  what  follows,  and  to  make  the  admiration  more  complet'-. 

The  admirative  part  of  a  paragraph,  as  well  as  of  the  inter- 
rogatory, is  always  to  begin  with  a  capital  letter. 

All  the  points,  except  the  comma  and  the  full-stop,  should 
have  a  hair  space  placed  between  them  and  the  matter,  to  dis- 
tinguish them;  the  comma  and  full-point  not  lining  with  the 
depth  of  the  face  of  the  letter,  do  not  require  any  space  to  bear 
them  off. 

Of  late  years,  some  founders  cast  their  semicolons,  colons, 
Sec.  of  sufficient  thickness  to  dispense  with  the  hair  space 
between  them  and  the  letter,  a  mode  to  which  we  can  see  no 
objection,  but  on  the  contrary  would  rather  commend. 

The  m  dash,  tliongh  it  cannot  be  denominated  a  point,  is 
frequently  used  in  peculiar  works,  sometimes  as  a  sub=;titute  fir 
the  comma,  at  otliers  f  jr  the  colon,  and  is  found  particularly 
servici-able  in  rhapsodical  writinir,  where  half  sentences  fre- 
quently occur. 


IIVPIIEX,  OR  DIVISIOX. 

To  divide  v.Mrd<  iir  <vli:i!il' -^  with  jiropricty,  i<  an  impurtant 
part  (if  a  compD^itor"-  hu^ines^.  It  will  e\erei<(.  his  judLnneiit, 
and  ileuiaiid^  pailieuhir  att'iitii^n.  as  author^  mu-t  leave  tiie  u-^e 

of  the   h\ph'  II    til    ihi-  (li-i.T'tioM    111'  the   piaill'T. 

The  diliii'uhy  that  fi  iniii-i  ly  exjstid  a-  to  th'-  proper  method  of 
dividing  s\lhibh<,  aro-i'  iVoin  tiie  cumrov.-rsii-s  in  wliicli  aiuhors 
were    continually   engag-d   on    the    suiji-c-t    ol'  ortliograpliv. — 


TYPOGRAPHIA.  63 

Without  being  able  to  establish  a  criterion,  each  arrogated  to 
himselt'the  adoption  of  his  own  particular  mode,  to  the  subver- 
sion of  uniformity  and  propriety. 

The  Dictionaries  of  Walker  and  Johnson  are  looked  up  to  as 
the  highest  authorities,  and  the  labor  of  these  great  men  appears 
to  have  been  crowned  with  complete  success.  It  has  siienced 
those  pedantic  clamors  and  divided  opinions,  which  distracted 
the  attention  of  the  compositor,  and  he  is  now  able  to  solve  any 
difficulty,  by  a  reference  to  those  excellent  standards  of  English 
orthography. 

Authors  of  the  present  day  seldom  interfere  with  what  is  now 
deemed  the  province  of  the  printer:  they  will  generally  allow 
him,  from  his  practice,  to  be  a  pretty  competent  judge  of  ortho- 
graphy, and  therefore  do  not  object  to  his  mode  of  spelling, 
though  it  may  vary  from  their  own.  To  the  compositor  this  is 
an  advantage  of  considerable  importance,  as  it  allows  him  to 
observe  a  system  in  his  spelling,  and  enables  him  at  the  same 
time,  to  acquire  the  proper  use  of  the  division,  in  which  he 
should  be  careful  not  to  suffer  a  syllable  of  a  single  letter  to  be 
put  at  t!ie  end  of  a  line,  as  a-hidc,  e  normoiis,  o-hedient,  &-c. 
except  in  marginal  notes,  which,  from  their  narrow  measure, 
cannot  be  governed  by  this  rule.  The  terminating  syllable  of  a 
word  should  not  be  allowed  to  begin  a  line,  as  ed,  hj,  &c.  the 
hyphen  being  the  thickness  of  one  of  the  letters,  the  measure 
nuist,  therefore,  be  narrow  indeed,  or  the  line  very  closely 
spaced,  that  will  not  admit  the  other.  A  compositor,  who 
studies  propriety  and  neatness  in  his  work,  will  not  suffer  an 
unnecessary  division,  oven  in  a  narrow  measure,  if  he  can  avoid 
it  by  the  trouble  of  over-running  two  or  three  lines  of  his  matter. 

In  large  type  and  narrow  measures,  the  use  of  the  division 
may  admit  of  an  excuse:  but,  in  that  case,  care  should  be  taken 
tliat  liyphcns  do  not  follow  each  other.  In  small  type  and  wide 
mrasures,  the  hyphen  may  generally  he  di'^jiensed  with,  either 
bv  driving  out  or  getting  in  the  word,  without  the  least 
iiitringemont  on  the  regularity  of  the  spacing.  The  habit  once 
acquired  of  attending  to  this  essential  point,  the  compositor 
v.-ould  find  his  advantage  in  tlie  preferenct?  given  to  his  work, 
and  the  respect  attached  to   iiis  character    from  his   being  con- 


C4  TYPOGRAPHIA. 

sidered  a  competent  and  careful  master  of  his  business.  The 
appearance  of  many  divisions  down  the  side  of  a  page,  and 
irregular  spacing,  are  the  two  greatest  defects  in  composition. 

It  is  proper,  if  possible,  to  keep  the  derivative  or  radical  word 
entire  and  undivided;  as  occur-rcnce,  genth-inan,rcspcct-ful.  Sec. 
Some  printers  have  adopted  the  mode  of  dividing  on  the  vowel, 
which  answers  very  well  in  some  cases,  but  will  by  no  means 
answer  as  a  general  rule. 

The  hyphen,  or  division,  is  likewise  used  to  join  two  or  three 
words  together,  which  are  termed  compounds,  and  consist 
frequently  of  two  substantives,  as  hird-cagc,  love-letter,  &,c. ; 
likewise  what  are  termed  compound  adjectives,  as  roeU-built 
liouse,  hundsomefaced  child,  Sec.  But  compoun-ds  are  sometimes 
made  of  words  that  were  never  intended  for  such;  therefore,  to 
acquire  a  competent  knowledge  of  them  does  not  depend  upon 
fancy,  but  exercises  the  judgment  in  discovering  the  rise  and 
fall  of  the  tone,  which  is  an  adjunct:  and  whether  that  and  the 
prec(>ding  appellative  may  not  be  joined  into  one  word,  rather 
than  make  a  compound  of  it. 

The  prepositions  after,  before,  over,  Sec.  are  often  connected 
with  other  words,  but  do  not  always  make  a  proper  compound  ; 
thus,  hrfore-mcntioiicil  is  a  compoLind  when  it  precedes  a  sub- 
.stantive,  as,  in  the  before-mentioned  place;  but  when  it  comes 
after  a  noun,  as  in  tiie  place  before  mentioned,  it  should  be  two 
(.listiuct  'words. 

II\;ih(iis  ai"''  sonn'times  usctl  in  talile-Wfjrli,  indexes,  or  con- 
tent<;  but.  like  the  full-point,  they  are  nuw  generally  superseded 
by  leaders  or  dotted  rales. 

}Tv[)hens  shnuld  not  l)e  ea^t  of  too  thiclc  a  l)ody;  their  princi 
[lal  use  i-<  in  iii<tif\ini^  and  correetin:,'-,  therefore  they  raiinr,t 
be  too  thin  to  be  ser\'irealjle ;  tliey  ilo  not  re([uir(^  a  \'ery  boh! 
stroke,  exeejn  for  spelling  ijooks,  for  wliich  they  are  generally 
cast  on  purpose. 


PAPvFATIlI'.SI.S  A.\l)  i]RA(:Kr;r. 

Tin:  u-^e  of  t!ie  parenthesis  is  to  (nclose  such  words  or  sentences 
of  a  period  as  make  no  part  eif  ihi'  subject,  vet  ;a  the  same  time 


TYPOGRAPHIA.  65 

strengthen  the  argument;  which,  however,  would  read  smoothly 
on,  were  the  enclosed  matter  taken  away. 

Parentheses  are  not  noAv  so  generally  used  as  formerly; 
authors  place  their  intercalations  between  commas,  which  make 
them  equally  as  intelligible  as  though  they  were  inclosed  between 
parentheses,  and  look  much  neater  in  print;  but  where  paren- 
theses are  used,  should  a  point  be  requisite  to  mark  the  sentence, 
it  is  placed  after  the  parenthesis,  the  intercalation  not  being 
reckoned  anv  part  of  that  sentence;  as,  for  instance,  j\Fy  Lord 
{said  I),  I  loill  tell  your  Lordship,  Sec. 

Brackets  are  so  seldom  made  use  of  now,  that  they  require 
little  notice;  both  parentheses  and  brackets  were  formerly  used 
to  inclose  folios.  Sec;  but  the  modern  method  of  putting  folios  in 
figures  unattended,  leaves  the  bracket  scarce  a  duty  to  perform. 


APOSTROPHE. 

The  apostrophe  is  called  a  sign  of  abbreviation,  its  appearance 
often  ejecting  some  letter  or  letters  from  the  word  to  which  it  is 
attached,  particularly  in  poetry,  where  it  often  contracts  two 
syllables  into  one,  to  give  a  verse  its  proper  measure;  to  this  the 
vowel  c  yields  oftcner  than  any  other  letter,  as  alledi^-'d,  chana^d. 
Sec.  Sometimes  it  cuts  off  a  vowel  at  the  beginning  of  words, 
i\s  ^ hat e,  \scape,' squire,  Sec;  sometimes  a  syllable,  as  'y}?-e/i/('ce  ; 
but  these,  and  many  other  abbreviations,  are  common  only  in 
poetical  works,  and  are  under  the  arbitration  of  the  author,  who 
best  knows  where  such  contractions  serve  his  purpose. 

The  monosyllables  tlio'  and  thro'  are  sometimes  shortfned, 
but  without  any  appearance  of  prtipriety  to  justify  the  curlail- 
ment,  as  they  retain  the  same  sound,  and  therefore  the  use  of 
the  apostrophe  as  an  abbreviation  cannot  in  the  slightest  degree 
assist  the  versification. 

The  genitive  case  of  the  singular  number  is  gr^nerally  known 
l<y  having  's  for  its  termination. 

All  quotations,  which  are  denoted  by  Ijegiuning  with  inverted 
conmiii-;,  are  closed  witli  apostrophes.  There  is  no  space 
ri-quirnt!  ijct\vef-n  tiie  apostiophe  and  the  matter. 


60  TYPOGRAPHIA. 

aUADRATS. 

Ax  m  quadrat  is  the  square  of  the  letter  to  whatever  fount  it 
may  belong;  an  n  quadrat  is  half  that  size.  In  casting  m  and 
n  quadrats,  the  utmost  exactness  is  necessary;  they  also  require 
particular  care  in  dressing,  as  the  most  trifling  variation  will 
instantly  be  discovered,  when  ranged  in  figure-work,  for  which 
purpose  they  are  much  used,  and  unless  true  in  their  justifica- 
tion, the  arrangement  is  confused  to  such  a  degree,  that  all  the 
pains  and  ingenuity  of  a  compositor  cannot  rectify  it.  The 
•ianie  observation  will  hold  good  with  respect  to  figures. 

AI  quadrats  mostiv  begin  paragraphs,  by  an  indention  of  the 
'irst  line:  but  of  late  vears  soini^  printers  prefer  using  an  m  and 
1  Ibr  narrow  measures,  and  two,  three,  or  even  four  m's  for 
witle  measures,  which  certainlv  must  be  acknowledged  to  be  an 
nnprovemenl.  An  m  quadrat  is  likewise  the  proper  space  after 
a  fulbpoint,  wlien  it  terniinates  a  sent(^nce  in  a  paragraph. 

N  (piadrats  are  generally  used  after  the  semicolon,  colon,  &,c., 
and  sometimes  after  a  curved  letter:  thev  are  also  exceedingly 
useful  in  sparing. 

Two,  three,  and  four  m  quadrats  are  likewise  cast  for  break 
and  white  lines,  but  particularly  for  poetrv,  on  which  account 
it  is  fssentially  necessary  that  they  be  cast  to  the  exact  depth 
of  ihe  letter,  otherwise  tlie  matter  will  stand  uneven  where  a 
number  of  tliem  come  together. 

'I'iie  inconvt  nience  arising  from  founts  of  tlie  same  bodv  U'lt 
agreeing  in  depth,  is  great,  where  the  quadrats,  through  nec(^s- 
sity,  are  sometimes  mixed.  It  is  a  serious  evil,  and  much  to  be 
\ie[)l()red,  that  some  metliod  crmnot  li(>  adopted  to  check  it;  as  a 
partieular  work  ^vill  sometimes  rerpiire  more  ipiadrats  tlian 
W'-ri'  ca<t  to  the  letter;  recourse  must  then  be  had  to  the  foundc'r, 
lliiMi_fh  tliere  may  }»•  otht-r  founts  in  the  oliice  ot'  the  sani"  bodv. 

Itr-'l't-  of  till"  same  bvjdy  as  t!ie  lett'.T  ot'  the  work,  are  sumi?- 
limis  u-f'd  f)r  white  lines,  instead  ot'  (juadrat-;;  but.  frem  tlieir 
b.'ii!^  ofsen  wrU  iiHV"  ari'  apt  to  swi-ll.  and  <if  i';iurs'>  cannot  be 
(!(|i-riihd  ('11.  and  ar^  only  lit  to  ])e  u~-fd  in  j'ih<,  ^^c.  whrTi; 
larje  t\pe  is  (iupfiyed;  it  would  tiierefire  be  better  for  hook- 
Work,  to  U-"  I'-ad-,  which  aro  ca-t  ti-om  four,  six,  and  <'ighl 
i^e.  to  a  Fica,  and  trom  f  Hit  m"<  to  anv  len-ih  ri-quireJ. 


TYrOGRAPHIA.  67 

SPACES. 

The  use  of  spaces  is  to  separate  one  word  from  another,  so  that 
tlie  reading  may  appear  easy  and  distinct.  To  enable  the  com- 
positor to  space  even,  and  to  justify  Avith  nicety,  they  are  cast 
to  various  thicl^nesses. 

B'^ive  to  an  m — or  five  thin  spaces;  four  to  an  m — or  four 
middle  spaces;  three  to  an  m — or  three  thick  spaces;  and  two 
to  an  m — or  two  n  quadrats,  which  may  Avith  propriety  be 
reckoned  among  the  number  of  spaces.  Besides  these,  there 
are  what  are  called  hair  spaces,  cast  remarkably  thin,  and  found 
particularly  useful  in  justifying  lines  and  assisting  uniformity 
in  spacing. 


NUMERAL  LETTERS. 

Every  letter  in  the  alphabet  was  used  to  denote  some  numbet 
by  the  Greeks  and  Orientals,  and  each  letter  denoted  a  less  or 
greater  number,  as  it  was  nearer  or  more  remote  from  the  first 
letter  in  their  alphabetical  order;  and  no  letter,  which  in  the 
order  of  the  alphabet  stands  after  another,  ever  denoted  g 
number  less  than  the  letter  that  stands  before  it.  If  the  Romans, 
who  derived  their  letters  originally  from  the  Greeks,  had  derived 
also  their  numeration  by  letters,  it  is  in  the  highest  degree 
probable,  that  these  particulars  would  have  been  the  same  in 
both;  but  as  not  one  third  of  the  Roman  letters  are  numerals,  so 
ueither  is  the  numeral  value  of  those  that  are  so,  more  or  less, 
accordinsr  to  their  place  in  alphabetical  order;  because  D  and  C, 
which  stand  among  the  first  letters  of  the  alphabet,  and  M  and 
li,  whose  station  is  in  the  centre,  are  of  much  greater  numeral 
value  than  X  and  V  which  are  near  the  end. 

But  it  has  been  supposed  that  the  Romans  used  M  to  denote 
1000,  because  it  is  the  first  letter  of  jNIille,  Avhich  is  Latin  fjr 
1000;  and  C  to  denote  100,  it  being  the  first  letter  of  Centum, 
the  Latin  term  for  100.  Some  also  suppose,  that  D  being 
funned  by  dividing  the  old  Al  in  the  middle,  was  therefore 
appointed  to  stand  for  500,  that  i<,  half  as  much  as  tne  M  stood 
tor  when  it  was  whole;  and  that  L  being  half  a  C,  v/as,  for  iho 
same   reason,  used  to   denominate   50.     But  upon   what   just 


68  TYPOGRAPHIA. 

principle  can  any  person  imagine,  that  1000  and  100  were  the 
numbers  which  letters  were  first  used  to  express?  And  what 
cause  can  be  assigned  why  D,  the  first  letter  in  the  Latin  word 
Decern,  10,  should  not  rather  have  been  chosen  for  500,  because 
it  had  a  rude  resemblance  to  half  an  M?  But  if  these  questions 
could  be  satisfactorily  answered,  there  are  other  numerical 
letters  which  have  never  yet  been  accounted  for.  We  therefore 
thinly  these  considerations  render  it  probable,  that  the  Romans 
did  not,  in  tlieir  original  intention,  use  letters  to  express 
numbers  at  all;  the  most  natural  account  of  the  matter  appears 
to  be  this — 

The  Romans  probably  put  down  a  single  stroke  I,  for  one,  as 
is  still  the  practice  of  those  who  score  on  a  slate,  or  with  chalk; 
this  stroke  they  doubled,  trebled,  and  quadrupled,  to  express 
two,  three,  and  four,  thus,  II,  III,  IIII.  So  far  they  could 
easily  number  the  minums  or  strokes  Avhh  a  glance  of  the  eye; 
but  they  found,  that  if  more  Avere  added,  it  would  be  necessary 
to  number  the  strokes  one  by  one;  for  this  reason,  when  they 
came  to  five,  they  expressed  it  by  joining  two  strokes  together 
in  an  acute  angle,  thus  V,  which  will  appear  the  more  probable, 
if  it  be  considered  tha.t  the  progression  of  the  Roman  numbers  is 
from  five  to  five,  that  is,  from  the  fingers  of  one  hand  to  the 
fingers  of  the  other.  Ovid  has  touched  upon  the  original  of  this 
in  his  Festormn,  lib.  iii.  and  Vitruv.  lib.  iii.  c.  1.  has  made  the 
same  remark. 

After  they  had  made  this  acute  angle  V,  for  five,  they  then 
added  single  strokes  to  the  number  of  four,  thus  ^'I,  VIl,  VIII, 
Villi,  and  then,  as  the  minums  could  not  be  further  muhij)hed 
without  confusion,  thev  doubled  their  acute  anirle  l.'y  prolonging 
the  two  lines  l;<'yond  their  intcrsprtion.  thus  X.  to  denote  two 
lives,  or  ten.  After  tliev  had  doubled,  trebled,  and  quadrupled 
tin-;  (leiuble  acut(!  anale.  thus  XX.  XXX.  XXXX.  they  then, 
fur  the  same  reason  which  induced  ihem  to  make  a  single  ane'ld.' 
first,  and  then  to  doulile  it.  jeiued  two  sinirle  strokes  in  another 
form,  and  instead  of  nn  aeute  ancrle,  made  a  ri^'ht  anale,  L,  to 
denote  fit'tv.  When  this  was  doubled,  they  then  doubled  the 
lia'lit  anirle,  thus,  C.  to  denote  one  hundrr'd,  and  having  nunr- 
bered    this   double    riirht    amjle   ibuT   times,   thus    C  C ,    C  C  C  , 


TYPOGRAPHIA.  GO 

C  C  C.C,  when  they  came  lo  the  fifth  number,  as  before,  they 
reverted  it,  and  put  a  single  stroke  before  it,  thus  |  3,  to  denote 
iive  hundred;  and  -n-hen  this  five  hundred  was  doubled,  then 
they  also  doubled  their  double  right  angle,  setting  two  double 
right  angles  opposite  to  each  other,  with  a  single  stroke  between 
them,  thus  C  I  Zl,  to  denote  one  thousand:  when  this  note  for 
one  thousand  had  been  repeated  four  times,  they  then  put  down 
]33,  for  five  thousand;  CCIDZJ,  for  ten  thousand;  and 
I  j|  D  :d,  for  fifty  thousand. 

That  the  Romans  did  not  originally  write  M  for  one  thousand, 
and  C  for  one  hundred,  but  square  characters,  as  before  shown, 
we  are  expressly  informed  by  Paulus  Manutius;  but  the  corners 
of  the  angles  being  cut  off  by  transcribers  for  despatch,  these 
figures  were  gradually  brought  into  what  are  now  called  nu- 
merical letters.  When  the  corners  of  C  I  n  were  made  round,  it 
stood  thus,  CIO,  which  is  so  near  the  Gothic  «,  tliat  it  soon 
deviated  into  that  character :  so  that  |  u  having  the  corners 
made  round,  stood  thus  |  o,  and  then  easily  deviated  into  D.  C 
also  became  a  plain  C  by  the  same  means;  the  single  rectangle 
which  denoted  fifty,  was,  without  any  alteration,  a  capital  L; 
the  double  acute  angle  was  an  X;  the  single  acute  angle  a  V 
consonant;  and  a  plain  single  stroke,  the  letter  I.  And  thus 
these  seven  letters,  M,  D,  C,  L,  X,  V,  I,  became  numerals.  As 
a  furtlifT  proof  of  this  assertion,  lot  it  be  considered,  that  CIO 
is  still  used  for  one  thousand,  and  j  O  for  five  hundred,  instead 
of  M  and  D  ;  and  this  mark,  r^,  is  sometimes  used  to  denote  one 
lunusaud.  which  may  ea-^ily  be  derived  from  this  fissure,  C  I  H, 
bu!  cannot  be  deviations  from,  or  corruptions  of,  the  Roman 
k'tter  M.  The  Romans  also  expressed  any  number  of  thousands 
by  a  line  drav.-n  over  any  numeral  less  than  one  thousand;  thus. 
V  denotps  five  thousand,  ioc,  sixty  thousand:  so  likewise  m  is 
one  million,  mm  two  miUions,  Sec. 

Upon  the  discovery  of  printing,  and  before  capitals  Avere 
invented,  small  letters  served  fur  numerals,  which  they  havi; 
diiiip  f'vcr  since;  not  only  whon  the  Gothic  characters  were  in 
thi  ir  perfsTtinn,  but  even  after  tliey  ceased,  and  Roman  w;is 
b'coui.-  the  prevaiHng  character.  Tlius.  in  the  time  of  printing 
m   Goti.ir   ciiaraciprs,  i  ri  ?i  I  t  b  lU  wrre.  and   are  ^.tiil,  ef  tliO 


70  TVPOLiRAPIIlA. 

same  signification  with  capitals,  wiien  used  as  numerals.  Bui 
here  it  should  be  observed,  that  the  capital  J  is  no  numeral 
letter,  though  the  lower  case  t  is  as  often  and  as  significantly 
used  as  .he  vowel  i,  especially  where  the  former  is  used  as  a 
closing  letter,  in  I]  iij  v']  vi]  V\\\  bn},  &c.,  though  it  is  as  right 
not  to  use  j's  at  all,  unless  it  were  out  of  respect  to  antiquity; 
for  in  Roman  lower-case  numerals,  which  are  of  modern  date, 
the  j  is  not  regarded,  but  the  i  stands  for  a  figure  of  1,  whereve/ 
it  is  used  numerically. 


ARITHMETICAL  FIGURES. 

Arithmetical  or  Arabic  figures  are  nine  in  number,  besides  tiie 
cipher,  or  nought. 

Figures  require  a  founder's  particular  care  to  cast  them 
exactly  n-thick,  and  to  a  true  parallel,  as  the  least  deviation 
where  a  number  of  them  come  together  in  table-work,  destroys 
their  arrangement,  and  causes  an  inconvenience  in  the  justifica- 
tion which  the  ingenuity  of  a  compositor  cannot,  without 
considerable  loss  of  time,  rectify. 

Printers  at  one  time  thought  it  a  great  impropriety  to  use 
erect  fiaures  in  italic  matter,  judging  that  the  obliquity  of  that 
character  would  be  intercepted  by  them,  and  tlierefore  had 
figures  cast  of  the  same  inclination;  this  pecuharity  is  but  par- 
tially attf'ndcd  to,  though  it  still  prevails  in  some  parts  abroad. 


CHAPTER   III. 


RULES. 


Rules  are  of  two  descriptions,  viz.  brass,  and  meial,  or  space 
rules ;  the  former  are  cut  from  sheet  brass,  and  the  latter  are 
cast  by  type-founders. 

Brass  rules  ought  to  be  exactly  letter  high;  if,  therefore, 
fc'jnts  differ  in  height  to  paper,  from  the  regular  standard,  those 
ri:lps,  accurately  made,  are  rendered  useless;  for  if  they  are 
higher  than  the  letter,  they  come  off  black  and  broad;  and, 
besides  hindering  the  adjoining  letters  from  appearing,  tliey  cut 
both  paper  and  tympan.  On  the  other  hand,  if  they  are  lower 
than  the  letter,  they  do  not  appear  at  all,  especially  if  they  are 
thin,  and  stand  between  matter  without  leads  at  their  sides; 
which  (in  particular  cases)  may  be  left  out  in  Roman  letter, 
yet  in  mixed  matter,  or  Italic,  a  lead  at  least  is  required  before 
and  after  a  thin  brass  rule,  to  prevent  its  touching  upon  d,  f,  I, 
at  the  fore-side,  and  upon/,  g-,  j,  j),  y,  at  the  hind-side;  they 
arc  made  of  various  thicknesses  for  column  rules  of  Magazines 
and  Newspapers,  and  when  required  for  the  latter  purpose 
great  care  should  be  taken  to  procure  those  made  of  the  very 
hardest  and  stifTest  material. 

The  face  of  the  rules  ought  to  be  attended  to,  that  they  may  bi 
of  an  equal  bold,  or  else  tender  look,  according  to  the  size  of  the 
letter  or  figures  with  which  they  are  used.  But  a  great  differ- 
ence appears  in  this  particular,  when  we  find  it  necessary  to 
piece  them ;  a  compositor,  therefore,  when  he  is  driven  to  this 
necessity,  should  endeavor  to  dress  the  shorter  pieces,  in  ordei 
that  they  may  appear  as  one  length. 

The  thickness  of  rules  for  table-work  should  be  proportionable 
to  their  face,  Avithout  so  much  shoulder  as  shall  hinder  a  cross 
rule  Ironi  joining  a  jicrpendicular  line;  since  it  is   a  maxim 
'•That  rules  (in  table-work)  shall  fall  upon  and  touch  rules;" 
wlui-h,  it' lollowed.  has  a  good  effect. 

See  ]>age  2S4  for  Labour-aavin;^  Rules, 


72  TYPOGRAPHIA. 

METAL  RULES  OR  DASHES. 

Mktal  rules  or  dashes,  like  quadrats,  are  cast  to  m's  from  thp 
size  of  one  to  four,  sometimes  to  six  ni's.  and  are  used  in 
scliemes  of  accounts,  to  direct  and  connect  each  article  with  its 
summary  contents,  where  they  stand  opposite,  and  distant  from 
each  other. 

Sometimes  dashes  stand  for  noughts,  in  columns  of  figures, 
where  the  dash  should  not  exceed  the  extent  which  figures 
require.  Thus,  in  a  column  of  four  n's^  a  two-m  dash  is 
answerable  to  them;  and  where  the  numeral  contents  of  a 
column  do  not  amount  to  above  hundreds,  an  m  dash  will  answer. 

Dashes  made  to  line  and  join  accurately,  are  very  useful,  as 
they  serve  not  only  for  rectilinear,  but  perpendicular  progres- 
sions, where  no  other  rules  are  to  touch  them.  But  though  they 
have  shouldering  sufficient  to  bear  them  from  the  matter,  they 
require,  nevertheless,  a  lead  or  reglet  before  and  after  them,  that 
tliey  may  keep  in  line. 

Sometimes  a  dash  stands  fur  a  sign  of  repetition,  in  catalogues 
of  goods,  where  it  implies  ditto;  and  in  catalogues  of  bouk<, 
where  a  dash  signifies  cjiisJxm,  insti/ad  of  repeating  an  author's 
name,  willi  the  title  of  every  separate  treatise  of  hisAvritIng: 
but  it  must  be  observed,  that  no  sign  of  repf/tiiion  must  be  at  the 
tup  of  a  pag<>;  but  that  the  name  of  the  autliur,  or  merchan(lis<>, 
iiui^t  be  set  out  airain  at  li-ngth:  and  if  thi.'ir  series  continues,  lu 
di'iiute  till'  cuniinuation  tli^rcof,  at  every  article,  bv  a  da-h  ot 
tiineor  i'uur  m's,  so  as  to  range,  instead  of  extending  tlie-  tla.-h 
lu  tlu'  dilfcrent  I'iigths  of  names. 

A  dash  likt;wi-('  stand-  I'ur  to  or  till;  as,  chap.  xvi.  3  —  17. 
liiat  i-,  fruni  lii-'  ihird  tu  tliu  ^e-,'>-:ri<'cniii  vt-r-^'.  Al  uiii.T  lim-'S, 
it  siTVes  fur  a:i  uid'-x,  tu  li'Ivc  nutiii".  tiiat  what  )(j1!u\vs  it  is  a 
cuffjliarv  (-■!  wli.n  h;'.--  prfv-J.-i :  .  ir  uih-i  wi-'Mnatti-r  uf  luipott 
and  c 'ii~'-qU'iii''\  .\  da-h^'-  are  L;>-n'-i-al!y  cast,  wiucli  ar.'  v-ry 
i:ju\'i:iiif'iit  in  iu-Mf'.inLr  b'lc^  ut' d'<ii'-.  and  i:i  liif  arrangeni'.-nt 
u-  b'-a.-^^  wi;.  :-■■  !:iI''J:--  aed  r  .,;,■;■    ir.    ';«-d. 


TYPOGRAPHIA.  73 

SPACE  RULES. 

Space  rtles  are  not  always  of  the  same  iliickness,  though  two 
of  them  generally  answer  to  the  depth  of  a  Pearl  body.  But 
til  is  is  not  of  so  much  moment  as  their  being  of  a  neat  look,  and 
made  to  join  well;  when  this  is  the  case  they  may  be  considered 
valuable  sorts.  These  lines  are  cast  to  various  widths,  from 
one  m  to  six,  and  are,  in  intricate  rule  work,  from  their  joining 
iiwre  exact,  neater  than  brass  rule,  less  expensive^  and  more 
convenient  to  the  compositor. 


BRACES. 

r.RACES  are  chiefly  used  in  tables  of  accounts,  and  similar 
matter,  that  consists  of  a  variety  of  articles,  which  would  require 
much  circumlocution,  were  it  not  for  the  method  of  tabular 
writing  now  practised. 

Braces  stand  before,  and  keep  together,  such  articles  as  are  of 
the  same  import,  and  are  the  sub-divisions  of  the  preceding 
articles.  They  sometimes  stand  aflcr,  and  k?ep  together,  such 
articles  as  make  above  one  line,  and  have  either  pecuniary, 
mercantile,  or  other  posts  after  them,  which  are  justified  to 
answer  to  the  middle  of  the  brace. 

Tiie  bracing  side  of  a  brace  is  always  turned  to  that  part  of  an 
article  which  makes  the  most  lines. 

Braces  are  sometimes  used  horizontally  in  the  margin  to  cut 
ofl"  a  chronological  or  other  series  from  the  proper  notes,  or 
marginal  references  of  the  work.  They  are  generally  cast  to 
two,  tliree  and  four  m's  of  each  fount,  but  can  be  had  larger  if 
desired.  When  there  is  occasion  for  them  larger,  mithlles  and 
fdrncrs  are  cast,  and  used  with  dashes,  so  that  the  brace  may 
include  any  space  required;  but  the  middles  and  corners,  as 
well  as  the  dashes,  require  to  be  cast  with  great  exactness,  that, 
when  joined,  they  may  appear  as  one  piece;  their  shoulders  in 
J I  easing  should  be  planed  av/ay,  so  that  the  beard  may  not 
prevent  the  face  from  meeting.  The  difllculty  of  nicely  eilecting 
lhi>  has  caused  some  printers,  most  eminent  hr  their  skill  and 
experience  in  table-work,  to  iurm  their  braces  out  of  brass  rule 


74  TYPOGRAPHIA. 

to  the  exact  lengths  required  for  each  occurring  instance;  but 
latterly,  metal  braces  have  been  cast  of  considerable  length 
entire. 

Middles  and  corners  are  convenient  in  genealogical  works, 
where  they  are  used  the  flat  way;  and  where  the  directing  point 
is  not  always  in  the  middle^  but  has  its  place  under  the  name 
of  the  parent,  whose  offspring  stands  between  corner  and  corner 
of  the  brace  inside,  in  order  of  primogeniture:  but  this  may  be 
superseded  to  advantage  by  the  use  of  brass  rule. 


SUPERIORS. 

As  we  have  already  treated  of  superior  letters  and  figures  under 
the  head  of  references,  it  Avill  not  be  necessary  to  take  further 
notice  of  them  here,  than  to  observe  that  they  should  contain  no 
more  than  the  bare  alphabet,  without  any  double  letters.  Neither 
ought  the  j  to  be  used  as  a  reference,  on  account  of  its  being  a 
descending  letter.  A  larger  number  should  be  cast  of  the  first 
t^ight  sorts;  a  less  of  the  second,  a  still  less  quantity  of  the  third 
eight  sorts;  because  it  often  happens  that  references  begin  with  * 
in  every  page;  though  sometimes  they  are  continued  to  the  end 
of  a  chapter,  or  other  division  of  a  v/ork;  in  which  case  they 
may  run  the  length  of  the  alphabet. 

The  same  rule  may  be  observed  in  respect  to  superior  figures, 
more  of  the  first  five  being  used  than  the  others,  except  the 
nuUo,  which  may  be  used  as  a  degree  in  geometrical  works. 


b'RACTIOXS. 

Frvctions,  or  broken  numbers  in  arithmftic,  wore  formerly 
si'ldoiu  ra^t  to  anv  othfr  bodies  than  those  of  Pica,  Small  Pica, 
I.onT-  Priiufr,  Rourgeui-;,  and  I3revier,  but  sinco  tho  use  of  small 
tvpo  lias  lipconip  so  gcncr;)!  thev  are  cast  to  almo';!  everv  sized 
bodv.  A  trn-at  irn[)rovem('nt  iias  roccntly  beon  introduced  by 
castincT  them  with  the  sr-paratrix  to  run  f'bliquely  lietween  the 
numerator  and  (I'moiniiiat'ir.  rcndcrincr  thoir  appearance  much 
more  cl^ar  and  con^jiicuoui. 


TYrOGRAPIIIA.  75 

Where  a  fraction  happens  with  large-bodied  figures,  such  as 
Greai.  Pj-imer  and  upwards  it  is  usually  set  out  at  length,  unless 
small  figures  can  be  conveniently  had,  which  may  be  justified 
M'ith  the  same  neatness  as  fractions  cast  to  the  body. 


QUOTATIONS. 

(iuoTATioxs  are  cast  to  two  sizes,  and  are  called  broad  and 
narrow.  They  should  be  cast  lower  than  quadrats  and  require 
to  be  dressed  and  finished  with  as  much  care  as  any  other  sort, 
that  they  may  stand  true  upon  all  occasions.  They  vary  in  size 
according  to  the  standard  of  tiie  foundry  where  they  are  cast, 
which  is  highly  improper;  as  they  should  be  governed  by  a 
regular  standard  as  well  as  every  other  sort,  and  to  that  standard 
press-joiners  ought  to  cut  their  furniture;  but  we  are  sorry  to 
observe  so  little  attention  paid  to  this  important  part  of  the 
joiner's  business,  who  follow  too  much  in  the  steps  of  the  letter- 
founder,  and  cannot  decide  on,  and  adhere  to,  a  standard  guage 
for  their  furniture.  This  want  of  uniformity  gives  the  compo-- 
pitor  much  trouble  in  making  margin,  and,  with  all  his  care,  a 
form  will  sometimes  go  to  press  imperfect  in  this  respect,  which 
is  immediately  discovered  on  laying  on  the  reiteration.  The 
pressman  has  then  to  unlock  the  form  in  order  to  make  register; 
from  this,  a  dispute  will  too  frequently  arise  between  him  and 
the  compositor;  and,  what  is  still  worse,  from  frequent  unlock- 
ing on  the  press,  the  pages  will  suffer  some  derangement,  so  that 
the  most  skillful  corrector's  endeavors  to  send  a  work  perfect  to 
pn  s<,  will  thereby  be  frustrated. 

In  order  to  obviate  the  above  diincuhits,  metal  furniture  of 
various  widths  is  now  cast  by  some  founders,  which  can  be 
relied  upon  for  its  accuracy,  not  being  liable  to  warp  or  expand 
bv  beat  or  moisture,  and  most  of  the  respectable  printing  houses 
aie  supplied  with  it. 


HOLLOW   OR  MOUTL'^ED  QUADRATS 
.\re  nw\v  made  by  L.  Johnsun-  ,v  Co.  of  rhihvl"li:hia,  vvlil.-h 
la^wer  llio  pari.o>es  ef  t^uutatlMn-.  a:-  well  a-  tVaiai  s  fur  i-iriMihir 
a- oval  ]■)]<<.     T!i"V  are  ra-t  i.T  varioe.s  -i/.es.  ■'■vreiuatod  lo  Pica. 


76  TYPOGRAPIIIA. 

TWO-LIXE  LETTERS. 

Thet  are  now  cut  to  the  following  bodies.  Diamond,  Pearl, 
Nonpareil,  Minion,  Brevier,  Bourgeois,  Long  Primer,  Small 
Pica,  Pica,  English,  Great  Primer,  &ic.  and  are  found  extremely 
useful  in  titles,  beginning  of  chapters,  advertisements,  jobs,  kc. 


FLOWERS. 

At  one  period  flowers  were  held  in  the  greatest  estimation,  and 
the  skill  and  ingenuity  of  the  compositor  was  often  put  to  the 
test  in  forming  faces  and  devices  to  grace  the  head  pages  of  his 
work. 

The  variety  and  richness  of  the  designs  recently  introduced  by 
some  of  our  founders,  seems  to  have  occasioned  a  desire  on  the 
part  of  several  printers  to  introduce  the  old  mode  of  ornamenting. 

A  few  years  since,  so  great  was  the  rage  for  novelty  and 
alteration,  that  some  printers  were  not  content  with  merely  the 
exclusion  of  flowers,  but  they  stripped  their  works  of  every 
article  which  had  the  least  appearance  of  ornament;  even  rules 
of  every  description  were  banished  from  their  proper  stations  in 
title-pages,  heads,  kc;  but  this  new-fangled  rage  did  not  lung 
continue,  and  it  was  with  some  reluctance  that  they  would 
consent  to  the  re-introduction  of  them  in  certain  cases,  and  thus, 
bv  degrees,  rules  have  again  resumed  their  necessary  functions. 


LEADS. 
I,F. \Ds  form  a  Vfrv  important  part  of  a  printer's  stock  in  trade, 
siiic^'  it  is  scarcely  jxjssible  to  set  up  a  single  page  in  whii^h 
thiv  niav  not  be  uscfuriy  r-mploycd ;  but  their  chief  use  is  Ibr 
opening  tiie  lines  to  a  rc^'ular  distanre  {'nun  each  otiier.  They 
are  usually  ra-t  by  It-tter-lounders  in  a  long  mould,  and  theii 
cut  to  the  required  len^tiis.  The  bodies  are  regulated  by  pica 
si:uulard.  and  tliey  an^  usually  cast  feuir,  six,  or  eight  to  pica* 
but  are  oeca-ioni'.lly  ^^^ied  from  one  down  to  fourteen  to  pica. 
The  len'zth'^  al.^o  vary,  twenty  m's  pica  beiniz  about  the  average, 
tliouah  tiiev  are  cut  to  a!inr,st  every  length,  in  order  tliat,  by 
tieini'  Combined,  they  may  suit  every  measure. 


TVrvCRAPHIA.  77 

They  are  almost  indispensably  necessary  in  regulating  the 
blanks  between  displayed  lines  in  titles  and  other  pages.  They 
are  also  used  in  newspapers  to  designate  editorial  matter  from 
communicated  and  selected. 


NAMES  OF  LETTERS,  AND  THEIR  BEARINGS 
TO  EACH  OTHER. 
Having  already  treated  upon  the  properties  and  shapes  of  types, 
and  of  all  the  sorts  contained  in  a  complete  fount  of  letter,  with 
some  observations  on  the  use  and  proper  application  of  them, 
we  shall  now  endeavor  to  explain  the  origin  of  the  names  of  the 
various  sized  letters. 

Canon  is  confessed  to  have  been  first  produced  by  some 
artizan,  of  the  French  nation^  and  employed  in  some  work 
relating  to  the  canons  of  the  church;  to  which  the  German  title. 
Missal,  likewise  alludes. 

Two-lines  Double  Pica,  Two-lines  Great  Primer,  Two-lines 
English,  Two-lines  Pica,  and  Double  Pica,  have  their  names 
from  the  respective  bodies  of  which  the  depth  of  two  m  quadrats 
answers  to  one  of  the  double  sizes.  But  we  must  here  take 
notice,  that  our  Double  Pica  falls  in  with  what  the  Germans 
call  Secunda,  from  which  it  follows,  that  there  should  be  a 
Prima;  but  because  we  have  met  with  no  letter  of  that  name, 
we  conclude  that  Prima,  being  a  size  larger  than  Secunda,  and 
happening  to  answer  alterwards  to  two  lines  of  English,  Prima 
lost  its  first  name,  and  was  turned  into  that  of  Roman.  Besides, 
that  Double  Pica  goes  in  Germany  by  tlic  name  of  Secunda, 
that  letter  is  also  called  Text;  as  we  cannot  assign  the  reason 
for  it,  we  shall  leave  it  to  connoisseurs  to  observe  which  of  the 
primitive  books  has  its  text  printed  in  that  character. 

Paragon  is  the  only  letter  that  has  preserved  its  name,  being 
called  so  by  all  the  printing  nations.  Its  appellation  shows, 
that  it  was  first  cut  in  France;  and  at  the  same  time  gives  us 
room  to  suppose,  that  the  state  of  well-shaped  letter  there  was 
at  that  time  hut  indifferent;  because,  whon  Paraxon  happened 
to  turn  out  a  IctWr  of  better  shape  than  the  rest,  it  received  the 
name  of  po-fi-cl  pattern,  which  the  word  Pnratron  implies. 


78  TYPOGRAPIIIA. 

Great  Primer,  in  Germany,  is 
called  Tertia,  and  is  therefore  one 
of  the  major  sizes  of  letter  which, 
in  the  infancy  of  the  Art.  served 
for  printing  several  works  of  con- 
sideration, and  particnlarly  the 
Bil)le;  on  which  account  it  is  by 
some  called  Bible  Text. 

English  is  called  Mittel  by  the  Ger- 
mans, and  St.  Aiigustin  by  the  Fi'ench 
and  Dutch;  both  whicli  names  mifrht  be 
productive  of  consideral)le  argument;  tlie 
word  ]\rittel  l)earing  the  same  meaning 
with  Middle,  intimates,  that  the  former 
sizes  of  letter  were  seven  in  nundier,  tlie 
centre  of  which  being  Engiisli,  with 
Prima,  Secunda.  and  Tertia,  ranging  on 
one  side,  and  Pica,  Long  Primer,  and 
Brevier,  occu])ying  the  other.  As  to  the 
luime  of  St.  Augustin.  as  it  is  designated 
l)y  the  French  and  Dutch,  we  understand 
tliat  the  wi'itings  of  tluit  Fatlier  wei'e  the 
hi'st  woihs  dune  in  tliat  sized  letter. 

Pica  is  another  k'tter  that  admits  of  having 
])artic'inar  notice  taken  of  it.  on  account  of  its 
heing  called  Cicero  hy  tlie  French  and  Germans; 
l()r  as  the  javcediug  size  was  distinguished  hy 


TYPOGRAPHIA.  79 

the  name  of  vSt.  Augustiii,  ,so  has  this  been 
honored  with  that  of  Cicero,  on  account  of  the 
Epistles  of  that  writer  having  been  first  done  in 
letter  of  this  size ;  and  the  only  point  now  to 
decide  is,  whether  the  Germans  or  the  French 
were  the  first  who  dedicated  the  letter  of  this 
body  to  the  name  of  Cicero  on  the  before-men- 
tioned account. 

Small  Pica,  being  of  an  irregular  body,  takes  its 
name  here  from  its  inferiority  to  Pica.  But  in  Prance 
they  assign  the  invention  of  this  body  of  letter  to  Phi- 
losophic ;  for  which,  indeed,  they  may  have  their 
reason,  considering  that  their  Cicero  and  Philosophie 
are  of  one  and  the  same  face ;  from  Avhich,  we  conclude, 
that  they  did  not  consider  Small  Pica  worth  cutting 
with  a  face  proportionable  to  its  body ;  and  that  the 
cramping  of  Cicero  to  Philosophie,  was  done  with  no 
other  view  than  to  get  in  upon  the  former.  This  we 
venture  to  suggest,  though  Ave  can  form  no  idea  why 
the  Germans  give  this  letter  the  name  of  Brevier. 

Long  Primer.  Upon  the  same  supposition,  that  some 
bodies  of  letter  took  their  names  from  works  in  which  they 
were  first  employed,  wc  are  induced  to  believe  that  the 
(Tcrmans  gave  the  name  of  Corpus  to  this  character,  on 
account  of  their  Corpus  Juris  being  first  done  in  this  size, 
as  it  is  still  continued  in  that  letter;  but  whether  Gannond 
is  the  name  of  the  author,  or  what  signification  else  it  bears, 
we  have  no  items  of.  In  contradistinction  of  the  French 
dros  Romain,  they  call  this  size  letter  Petit  Komain,  con- 
formable to  the  distinction  that  is  made  between  Great 
Primer  and  Long  Primer,  in  England. 

Bourgeois  is  a  letter  of  an  irregular  body,  and  has  hitherto 
Ijeen  received  accordingly.  By  its  name  it  seems  to  have  first 
cniue  from  France,  liaving  been  dedicated  to  the  master  printers 
tlirre.  (iailtarde  is  a  letter  of  the  same  body,  but  has  the  face 
of  Petit  ilomain.  Two  lines  of  this  letter  are  equivalent  to  a 
Great  Primer  body;  and  one  line  to  two  of  Diamond. 


80  TYPOr.RA]>IITA. 

Brevier  takes  it"  nnnie  fr"m  }i('iiiir  first  use^l  fur  tlie  Breviary,  a 
Roman  ('.■itliolic  riiurcli-liiHik.  \\]iicli  is  ei-'!;iinoiily  priiite'l  in  this 
oliaracter.  It  is  ealle'l  I'etit :  aivl  .lnTicifor.  or  ^lui-len  Letter,  Ity 
the  Gerni&n-',  on  account  of  its  comeliness. 

.^^illil■n.  Why  this  h-;t..'r  v,':i:;  rh'niiiniiiati.'il  Minion,  ^xo  liavp  not  vot 
he. -11  irih.niii.-l  ;  j,i-'ilia'ily  it  \vj<  huM  in  gi-L-ut  L--iiiiiati')ri  <.n  its  nr.-t  in- 
trudaetivn.  an'l  eoh,-i^;aL-iit!y  receivfl  th'.'  ti:h,'  oi' i  Jtarlin.^-,  Minion. 

N'onrarcil.  I,:t'.!.' .^an  be  rb-fTTi-l  with  rr>|.rft  lo  llii-  iliaractPr:  -wliy  it  rif.ivi'd 
the  naini'  nf  .Nnnparcil  no  ono  ha,=  Ti>t  vcntiir.^'i  tc  ,nvi.-ti_'.'it^..  it  is  tliiT'-tVirr  most 
prolial.lr  th:it  till'  a].]«-llatioii  was  sivi'n  on  ur^  Oiait  ol' it-  ej-.truc^rdiuary  Mii^lini:S3 
in  proportion  to  thn-c  letters  at  tliat  lime  in  j.'eiieral  use. 

Vnrl.  Wi'h  rf<f<jct  to  this  s;/c  «  f  ••'.r,-  li-ft  in  the  snnie  situation  ns  the  I.i5t  iwntirmid.  cnnsen'jcntlv  we 
!ha;!  a<;\in  vp:  r:,:-e  :r  a  vizj.-ti  -u  f  -  •!  .■  :ay.,:  ivi.>;.  i-  i,D'.  rc-:.:W,  i  :  it  ii  ;  r'  Va!  li-  !!:at  the  sutcssel  the 
f'.r.-iiiii,;   induce!  th.-  f'.!iiiiT5  ■■.  anoi.ipt  ruttin:;  arKi-|,,.-r  l<f.:r.  .:;/ei  a  snjallcr  b.,Jy;  a:.d  a5    this  Mi, 

T.v-n   the  ninnr^aes.  r,f  th»  f,,..  ji;n  n,rti>!..ii(-.l.did  no;  ,l.-....r  the  f  i;tid,T.  tr.-jr,  a"»-r.r--nr  ™.-  •:. -n  1  't-::i 


In  the  type  last  mentioned,  so  minute  is  each  character,  that 
of  the  lower  case  i  about  2,800  go  to  a  single  pound,  and  the 
thinnest  space  about  5,fi00! 

It  is  necessary  to  observe  that  the  foregoing  gradation  of  types, 
from  Great  Primer  to  Diamond  inclusive,  were  not  cast  by  one 
and  the  same  founder;  still  this  is  not  of  the  least  consequence, 
when  it  is  considered  that  the  founders  have  various  faces  to  the 
same  bodv.  con'^eiiuentlv  it  would  have  not  only  been  improper 
to  have  made  a  solection  of  those  which  might  agree  as  to  the 
ri'gular  crradation.  but  it  would  also  have  boen  attended  willi  a 
wa<!e  of  ti;iie,  and  an  tmnece'^sary  expen^o;  therefore,  we 
thou2:ht  propor  to  take  those  which  were  immfnliately  at  our 
command. 

Indopendentlv  of  thr-  b'tf-r!^  which  are  cast  upon  tlie-;e  bodies, 
tho  fjundors  ea-^t  a  \oiipareil  faoo  on  a  Minion  briy.  and  a 
Mininn  on  a  N'lnparojl :  a  .'^niall  Pioann  a  Pii-a.  and  all  the  ot'.nT 
siz'v'!.  oithcr  in  as.'ondin^r  or  ilosoi-ndini,'  firil'T. 

Wo  ^hnll  n^iW  irivo  the  proportl m  which  on^  <i7.,-  of  tvpe 
boai'>;  to  ariiiliiiT  in  ii'lUJr.  but  it  !■<  n",.<.-,s;iry  \o  fib^crve  th;ii  it 
must  b"  t:ikoii  \','itii  I'oriain  liiuitaii'tii^,  lioeau^e  each  founder 
ha^  h-ttor  lA'  ov-'W  ^Iz".  iiiat  will  oithor  drive  out  or  iret  in  witli 
otli'-r-;  of  ill''  .-aiiio  bidv:  lie-rofMrf  it  is  iinpussihlr'  fir  us  to 
pri-ont  our  r' ;iti.r<  \\\\\i  a  vi'suhir  'jiailaii'in  of  tho  difiori-nt 
siz"-;  tViin  (innt,  l'riiii>  r  lo  Dhun'unl  incbi^jvo ;  tlie  limitation 
of  oaoii  line  is  marked  bv  an  inverw-d  full  point. 


TYPOGRAPHIA. 


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ti2  .  TYPOGilAPHIA. 

h  is  a  point  of  the  utmost  importance  tiiat  a  printer  tshoulcl  be 
well  acquainted  with  the  exact  proportion  which  one  body  of 
letter  bears  to  another;  without  a  possession  of  this  knowledge, 
he  is  unable  to  form  an  accurate  judgment  as  to  the  size  of  the 
type  most  suitable  for  a  work  that  is  intended  to  be  confined 
within  a  given  number  of  sheets;  neither  can  he  form  a  correct 
opinion  as  to  the  extent  of  a  Avork,  unless  he  possess  a  rule 
whereby  to  guide  his  calculation  as  to  the  quantity  of  copy 
which  the  proposed  type  may  either  take  in,  or  otherwise  drive 
out. 

A  scale  hq,s  been  introduced  in  England  for  measuring  the 
depth  of  letter  from  Great  Primer  to  Nonpareil;  we  should  have 
inserted  a  similar  one^  had  we  not  been  convinced  of  its  inutility ; 
because,  as  we  have  before  observed,  not  only  do  respective 
founders  vary,  but  as  great  a  difference  exists  in  each  individual 
foundry.  If  letter  were  cast,  as  it  ought  to  be,  to  a  mathematical 
standard,  such  a  scale  would  be  of  tlie  greatest  consequence:  a 
certain  number  of  m's  unquestionably,  should  be  allowed  to  a 
foot,  as  three  barley-corns  to  an  inch ;  viz.  Pica  72  m's,  and  all 
others  in  the  same  proportion;  whereas,  we  now  have  halves 
and  quarters  included:  from  such  a  system,  what  can  we  expect 
but  confusion?  They  may  vary  the  face  of  the  letter  as  they 
l)lf'ase;  but,  as  to  height  to  paper  and  depth  of  body,  the  printers 
shouUi  insist  upon  their  keeping  to  a  true  mathematical  standard. 

hi  order  to  show  the  variatii,ins  in  the  depth  of  type,  we  shall 
give  an  cxam{)le,  liy  inserting  two  lines  of  Long  Primer  m's 

SSSSESSS55SSS2 
Tiio  great  diffr'n-nce  in   lioly  here  exhibited,  not  only  applies 
to  l-jnn'j;  Prim'r,  \>\\{  also  to  evcrv  other  size. 


r-ASTIXG  OFF  COPY. 

To  rn<\.  off  tiKUiusi'ript  with  accuracy  anil  pri'rision,  is  a  task 
(if  a  (li<;igr''i';ibl<'  n;itiire.  which  r<-quir''s  i^rciii  attention  and 
iiiainri'  d''lil)''i-:iiiiin.  'I'in'  troiilili'  ami  ililhruh\'  i<  much  in- 
(Tiiisi'd,  wiieii  till'  copv  i'~  iini  niilv  1  f  r>  L""!  I  fi  riv  written  (whii'h 
i-  1-iii  lr'iju"iiiK  the  ';a,.fL  bm  al='.'  .tbouiul:^  witii  iiU'rliu'-atiijns. 


TYrOCaiAPIIIA,  S3 

erasures,  and  variations  in  the  sizes  of  paper.  To  surmount 
tliese  defects  tlie  closest  application  and  attention  is  required ; 
yet,  at  times,  so  numerous  are  the  alterations  and  additions,  that 
they  not  unfrequently  baffle  the  skill  and  judgment  of  the  most 
experienced  calculators  of  copy.  Such  an  imperfect  and  slovenly 
mode  of  sending  works  to  the  press  (which  is  generally  attended 
with  unpleasant  consequences  to  all  parties)  cannot  be  too 
strongly  deprecated  by  all  admirers  of  the  art. 

Tlie  first  thing  necessary  is  to  take  a  comprehensive  view  of 
the  copy,  and  to  notice  whether  it  is  written  even,  if  it  has  many 
interlineations,  &c.  also  the  number  of  break-lines,  and  whether 
divided  into  chapters  and  sub-heads,  in  order  that  allowance  may 
be  made  for  them  in  the  calculation,  so  that  the  plan  of  the  work 
may  not  afterwards  be  infringed  on.  These  observations  should 
be  entered  as  a  memorandum,  on  a  separate  piece  of  paper,  to 
assist  the  memory,  and  save  the  trouble  of  re-examining  the 
manuscript. 

This  preparation  being  made,  we  then  take  that  part  of  the 
copy  for  calculation  which  comes  nearest  to  the  general  tendency 
of  the  writing,  and  reckon  the  number  of  words  contained  in  one 
line,  previously  counting  a  number  of  separate  lines,  so  that  the 
one  we  adopt  may  be  a  fair  average;  we  then  take  the  number 
of  lines  in  a  page,  and  multiply  the  one  by  the  other,  Avhich  we 
again  multiply  by  the  quantity  of  folios  the  manuscript  copy 
may  contain,  and  thus  we  are  put  in  possession  of  the  amount 
of  the  words  contained  in  the  Avork,  with  as  little  loss  of  time, 
and  as  much  accuracy  as  circimistances  will  admit;  the  neces 
sary  allowances  should  then  be  made  for  break-lines,  chapters, 
insertions,  &.c.  according  to  the  observations  previously  made  on 
the  memorandum. 

If  the  information  has  been  furnished,  what  size  letter  the 
\V(jrk  is  to  be  done  in,  and  what  the  width  of  the  page,  we  make 
our  m(>asure  accordingly,  and  after  composing  a  few  lines  of  the 
manuscript  copy,  are  enabled  to  form  an  opinion  what  numbe." 
of  words  come  into  each  printed  line;  we  then  take  the  length 
of  our  page,  generally  to  double  the  number  of  m's  contained  in 
a  sinsxle  line,  or  Irss,  and  mulliplv  the  one  by  the  other,  which 
piuduris  tlic   inloniuUion   we  had  pieviouslv   i;aiut(l    fidiu   the 


84 


TYPO'IRAPIIIA. 


adoption  of  tlie  same  mode  on  the  manuscript  page;  we  compare 
their  results,  and  if  tlie  manuscript  drives  out,  we  muhiply  the 
print  by  a  larger  number  than  the  last  folio  of  the  writing,  and 
so  vice  versa;  if  tlie  print  drives  out,  we  multiply  it  by  a  less, 
until  We  bring  the  number  of  words  to  agree;  the  multiplier  on 
the  printed  calculation  will  show  what  will  be  the  last  folio  of 
the  printed  volume,  which  we  divide  into  sheets  according  to 
the  given  size  of  the  work,  and  we  are  then  in  full  possession, 
whether  it  Avill  bear  to  be  leaded,  or  the  chapters  begin  pages, 
kc,  or  Avhether  it  nmst  be  made  up  close,  the  measure  widened, 
the  page  lengthened,  or  the  size  of  the  letter  reduced. 

Sliould  the  size  of  the  page  and  letter  be  left  to  the  opinion  ol' 
the  printer,  witii  no  other  order  than  the  number  of  sheets  the 
work  is  intended  to  make,  from  following  the  above  mode  he 
will  be  enabled  pretty  accurately  to  give  his  directions; — but  as 
it  is  necessary,  on  a  subject  like  tiie  present,  to  be  as  clear  in  our 
observations  as  possible,  we  will  exemplify  what  has  been  laid 
down.  We  are  supposed  to  have  made  our  remarks  upon  tlie 
manner  of  the  writing  as  directed,  and  we  take  the  number  of 
words  in  a  line  of  manuscript  at  20,  the  lines  in  a  pag'^  at  50; 
we  multijily  50  by  "^0.  which  will  produce  1000  words  in  a  page; 
we  then  multiply  lOOO  by  -i'S^,  whicli  are  supposed  to  be  the 
jinmb'T  of  folios  in  tlie  manuscripf,  and  we  shall  tind  it  contain 
4"2'i.OMO  words. — The  work  l)eing  printed  in  Pica  Svo.  "JO  m's 
mca-ure,  and  <  ai'li  lin"  containing  10  words,  each  page  -10 
\v.v-< — th<'  ca'-e  will  stand  thus:  — 

:iiirT.  ,  PiiiNTEU. 

40 
'     10 


M  am; 


4(10 


VX 


400 


l-^'iMMd  Avords. 


].)iri,!e 
10  I  111,-,.-,  I  r,5  sheets. 

.!-,'-^MI|l|    \\-  ,T']-    ill    Ms.  i  15    pa^rps. 

1  lavi:i2:  ns'-'Tt, lined  the  iiMtuber  of  slieeN  the  work  will  make, 
uid    that   numijer   b>  iii_'  .•ulnei. m    lijr   two    \i(iuiaes.    ih'  v    aie 


TYPOGRAPIIIA.  85 

divided  accordingly.  But  should  the  author  wish  to  have  his 
work  comprised  in  one  volume,  it  is  requisite  to  be  prepared 
with  the  sized  type  and  measure  which  may  accord  with  his 
inclination. 

As  there  are  two  methods  of  casting  off  copy,  we  shall  con- 
clude this  article  with  the  one  laid  down  in  former  grammars : 

"  After  having  made  the  measure  for  the  work,  we  set  a  line 
of  the  letter  that  is  designed  for  it,  and  take  notice  how  much 
copy  will  come  into  the  line  in  the  stick,  Avhether  less  or  more 
than  a  line  of  manuscript.  And  as  it  is  seldom  that  neither  one 
nor  the  other  happens,  we  make  a  mark  in  the  copy  where  the 
line  in  the  stick  ends,  and  number  the  words  that  it  contains. 
But  as  this  is  not  the  safest  way  for  casting  off  close,  we  cotmt 
not  only  the  syllables  but  even  the  letters  that  are  in  a  line  in  the 
stick,  of  which  we  make  a  memorandum,  and  proceed  to  set  off 
a  second,  third,  or  fourth  line,  till  a  line  of  copy  falls  even  with 
a  line  in  the  stick.  And  as  we  did  to  the  first  line  in  the  stick, 
so  we  do  to  the  other,  marking  on  the  manuscript  the  end  of 
each  line  in  the  stick,  and  telling  the  letters  in  each,  to  see  how 
they  balance  against  each  other.  This  being  carefully  done,  we 
begin  counting  off,  each  time,  as  many  lines  of  copy  as  we  knoAv 
will  make  even  lines  in  the  stick.  For  example,  if  2  lines  of 
copy  make  3  lines  in  print,  then  4  make  6,  G  make  9,  8  make 
12,  and  so  on,  calling  every  two  lines  of  copy  three  in  print. 

"  In  like  manner  we  say,  if  4  lines  make  5,  then  8  make  10, 
and  so  on,  comparing  every  four  lines  of  copy  to  five  lines  in 
print. 

"And  in  this  manner  we  carry  our  calculation  on  as  far  as 
we  have  occasion,  either  for  pagrs,  forms,  or  sheets. 

"■  Tlie  foregoing  calculations  are  intended  to  serve  where  a 
line  of  print  takes  in  less  than  a  lino  of  copy,  and  therefore 
where  a  line  of  print  takes  in  more  than  a  line  of  copy,  the 
problem  is  reversed,  and  instead  of  saying,  if  2  lines  make  3,  we 
say,  in  this  case,  if  3  lines  of  copy  make  2  lines  in  print,  then  G 
Hues  make  4,  9  make  G,  12  make  S,  and  so  on,  countinir  three 
lin<^s  of  copy  to  make  two  lines  in  print.  In  this  manner  we 
may  carry  our  caleulatiuii  to  what  number  of  pages,  forms,  or 
sheets  we  will,  remembering  ahvavs  to  count  oil'  as  many  line-j 


86  TYPOGRAPIIIA. 

of  copy  at  once,  as  we  have  fouud  tliey  will  make  even  lines  in 
the  stick.  Thus,  for  example,  if  5  lines  make  7,  the  progression 
of  5  is  10,  15,  20,  &.C.  and  the  progression  of  7  will  be  14,  21, 
28,  Scc. 

"In  counting  off  copy,  we  take  notice  of  the  breaks;  and 
where  we  judge  that  one  will  drive  out,  we  intimate  it  by  a 
mark  of  this  [shape;  and  again,  where  we  fmd  that  a  break  will 
get  in,  we  invert  it  thus].  And  to  render  these  marks  con- 
spicuous to  the  compositor,  we  write  them  in  the  margin,  that 
he  may  take  timely  notice  of,  and  keep  his  matter  arcordins-Iy. 
We  also  take  care  to  make  proper  allowance  for  heads  to  chap- 
ters, sections,  paragraphs,  ike. 

"  In  examining  the  state  of  the  copy,  we  must  observe 
whether  it  has  abbreviations,  that  we  may  guard  against  them 
in  casting  off,  and  allow  for  them  according  to  the  extent  of  the 
respective  words,  when  written  out  at  length." 

We  trust  that  the  foregoing  observations  U{)on  this  subject, 
will  convey  a  sufficient  idea  as  to  the  best  mode  of  casting  off 
copy;  still  these  remarks  more  properly  J^pply  to  regular  written, 
as  well  as  thoroughly  revised  copy.  Upon  this  subjf?ct  Smith 
justly  observes — 

"  But  how  often  one  or  more  of  those  requisites  are  wanting, 
compositors  can  best  tell;  though  very  few  will  imagine,  that 
among  men  of  learning  there  should  be  some,  who  write  after 
sucli  a  manner,  that  even  those  who  live  by  transcribing,  rather 
shun  tlian  crave  to  be  employed  by  them:  no  wonder,  therefore, 
if  compositors  express  not  tlie  Ix'st  wishes  to  such  jjromoters  of 
printing,  liut  it  is  not  always  the  capacious  genius  that  ought 
Id  he  excused  for  writini,'  in  too  great  a  luirry;  for  sometimes 
those  uf  no  exuberant  brains  affect  uncouth  writing,  on  purpose 
to  slrennlhen  the  coniiiion  notion,  that  (lie  more  Lanud  tin-  )nan , 
tlic  v'lirsc  is  his  (hand)  irritim: ;  whieh  sliows,  tlial  writing  well, 
or  bud,  is  but  a  habit  with  those  thai  can  write." 


CHAPTER   IV. 

COMPOSING. 

IIavixg  arrived  at  that  portion  of  our  work  wliicli  more  imme- 
diately concerns  tiie  young  practitioner,  we  deem  it  highly 
requisite  to  offer  a  few  remarks  on  the  attitude  or  position  which 
it  is  necessary  that  he  should  acquire  upon  his  first  introduction 
to  the  department  of  composing. 

There  are  many  persons  now  employed  in  the  art,  who 
frequently,  with  great  justice,  inveigh  in  strong  terms  against 
tlie  conduct  of  those  unto  whose  care  they  were  first  entrusted, 
for  suffering  thera  to  contract  those  ill-becoming  postures  which 
are  productive  of  knock  knees,  round  shoulders,  and  other 
deformities.  It  is  deeply  to  be  regretted,  that  those  who  under- 
take so  important  a  charge,  are  not  better  qualified  to  fulfil  that 
duty:  instead  of  suffering  the  tender  shoot  to  grow  wild  and 
uncultivated,  when  the  pruning-knife,  in  a  gentle  hand,  with  a 
little  admonition,  Avould  have  checked  its  improper  growth,  and 
trained  it  in  a  riglit  course. 

What  to  a  learner  may  appear  fatiguing,  time  and  habit  will 
render  easy  and  familiar;  and  though  to  Avork  with  his  cases  on 
a  level  with  his  breast,  may  at  first  tire  his  arms,  yet  use  will  so 
inure  him  to  it,  that  it  will  become  afterwards  equally  unpleasant 
to  work  at  a  low  frame.  This  method  will  likewise  keep  the 
bfidy  in  an  erect  position,  and  prevent  those  effects  which  result 
from  pressure  on  the  stomach. 

The  standing  position  of  a  compositor  should  be  perfectly 
upright,  without  stiffness  or  restraint;  the  shoulders  thrown 
back,  the  feet  firm  on  the  floor,  heels  nearly  closed,  and  toes 
turned  out  to  form  an  angle  of  about  45  degrees.  The  head  and 
In.dy  should  be  kept  perfectly  steady,  except  when  moving  from 
tiie  ruman  to  the  italic  case,  tlie  operations  of  distributing  and 
composing  being  performed  by  tlie  various  motions  of  tlie  arm, 
from  the  shoulder  joint  alme;  anti  if,  to  reach  a  box  placed  in 


88  TYPOGRAPHIA. 

the  further  part  of  the  cases,  to  put  in,  or  take  out  a  letter,  he 
should  incline  the  body  by  a  slight  motion,  he  should  imme- 
diately resume  his  erect  position.  The  height  of  a  compositor 
and  his  frame  should  be  so  adjusted,  that  his  right  elbow  may 
just  clear  the  front  of  the  lower  case  by  the  a  and  r  boxes, 
without  the  smallest  elevation  of  the  shoulder  joint;  his  breast 
will  then  be  opposite  the  space,  h,  and  e  boxes.  Sitting  to  his 
Avork  should  only  be  permitted  on  particular  occasions,  and  then 
his  stool  should  be  a  small  piece  of  board,  fastened  to  a  single 
leg:  resting  the  whole  weight  of  the  body  upon  one  leg,  while 
the  other  foot  is  on  the  bottom  of  the  frame,  must  be  strictly 
avoided,  as  a  deformity  of  the  legs  will  be  the  certain  conse- 
quence; if  fatigued  by  walking  previous  to  beginning  work,  he 
should  rather  take  the  stool  for  a  short  time,  than  resort  to  the 
means  above  mentioned  for  relief.  There  are,  undoubtedly, 
circumstances  under  which  it  may  be  necessary  for  a  compositor 
to  be  much  on  his  stool, — lameness,  weakness,  old  age,  or  other 
infirmity;  but,  in  the  absence  of  these  excuses,  an  habitual  sitter 
I  should  call  an  habitual  idler:  that  which  at  first  going  to  case 
may  appc-ar  fatiguing  to  the  novice,  habit  will  render  familiar 
and  easy;  a  perseverance  in  conquering  a  little  fatigue  will  be 
amply  repaid  by  the  reflection  that  it  will  prevent  all  the  evils 
cjf  knock  kni'f'S,  round  slioulders,  obstructed  circulation  of  the 
blood,  and  n'spiratiun  of  the  lungs,  and  though  last,  not  lt,'ast, 
liabJts  of  idleuf-ss. 

The  (jur-stion  still  remains  undecided  with  many  masters,  as 
til  tilt'  HUtst  proper  part  (jf  tho  business  that  should  first  engage 
the  :tU>ntion  of  th'.-  learner  without  confusing  his  ideas;  vari(jus 
ni'-tliu'l^  arc  adopted,  encli  I'oHowinir  the  mode  he  thinks  Ijt-st. 
SiirtiiJU'  i>i  is  ^,^'IllTally  thi'  first  employment,  and  afterwards  to 
set  it  up,  whi^'li  uuqui-tiouably  izives  tin'  youth  a  strong  insight 
into  ill"  n;itur''  of  tln'  l)U>iiii'Ss,  mak"S  hini  aeijiiainted  with  the 
diir'r''nt  ^izi  s  ot'  type  and  the  inethfjd  oi'  eomposinj,  and 
prejiar.'-^  \\i<  under>tanding  fir  the  roinprehen^ion  of  whatever 
din-ction  may  !>'  cri\'en  him  wlii-n  he  is  put  to  the  case.  The  next 
dutv  i^  that  of  ti'arhiiig  him  the  nature  of  the  ca-^es.  a  knowlwlge 
ea>ilv  aequir^'d  bv  paying  priqier  ■.illcntion  to  that  jiart  of  the 
nroff^^ioii. 


TYPOGRAPHIA.  89 

In  presenting  the  cases  to  the  notice  of  the  beginner,  we  shall 
first  give  those  generally  used  in  the  United  States j  secondly, 
the  late  Lord  Stanhope's  plan ;  and  lastly,  those  which  we  have 
adopted. 

The  schemes  of  cases  in  the  following  pages,  are  given  as 
those  generally  in  use  in  the  United  States,  or  at  least  those  which 
we  have  found  to  be  most  numerous;  but  it  is  here  necessary  to 
observe  that  in  some  offices  slight  deviations  will  be  found, 
such  as  the  transposition  of  the  comma  and  w,  y,  and  p,  &c. 
In  the  upper  case  several  empty  boxes  will  be  found,  which 
are  usually  filled  with  fractions  or  useful  sorts  employed  in  the 
work  in  hand,  but  not  unfrequently  within. 


90 


TYPOGRAPHIA. 


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92  TYPOGRAPHIA. 

We  beg  to  call  the  reader's  attention  to  tlie  cases  upon  the 
late  Earl  Stanhope's  plan,  and  also  to  his  remarks  on  the  same: 

"  I  have  deemed  it  advisable  to  contrive  a  new  pair  of  com- 
posing cases,  making  a  new  arrangement  of  the  types  in  the 
boxes,  introducing  a  new  set  of  double  letters,  which  I  denomi- 
nate logotypes;  and  rejecting  altogether  the  doiible  letters  fl",  ii, 
fl,  ffi,  ffl,  formerly  occupying  room  in  the  cases,  but  used  so 
seldom  that  they  might  rather  be  considered  as  retarding  than 
lorwarding  the  work  of  the  compositor. 

"  My  object,  in  this  matter,  has  been,  to  afford  the  best  means 
for  the  compositor's  comfort  in  composing,  combining  therewith 
the  greatest  attainable  expedition.  Upon  first  looking  into  this 
part  of  the  business,  which  naturally  fell  under  my  observation, 
I  was  forcibly  struck  with  the  result  of  some  examinations  which 
f  caused  to  be  made,  in  order  to  ascertain  correctly  the  frequency 
of  the  occurrence  of  the  several  different  types  in  composition. 
Those  exam.inations  pointed  out,  that  the  double  letters  ff,  fi,  fl, 
fii,  ffl,  JE,  Qli,  03,  CE,  were  so  little  used  in  composition  as  to 
occupy  room  in  the  composing  cases  unnecessarily ;  I  therefore 
resolved  on  getting  rid  of  them;  and  resorted  to  the  adoption  of 
a  slight  change  in  the  shape  of  the  lett<T  f,  to  keep  the  dot 
which  forms  its  top  from  overhanging  and  being  broken  off  by 
ascending  letters.  Man  is  so  much  the  child  of  custom,  and  so 
much  th(!  implicit  admirer  of  fancied  beauty,  that  I  believe  if  the 
human  body  generally  was  very  round  shouldered,  and  if  the 
head  projected  considerably  beyond  the  chest,  itAvould,  in  such 
a  case,  be  deemed  a  deformity  to  se(>  a  man  with  an  upright 
bodv,  and  carrving  his  head  erect.  Having  this  opinion  uj)on 
S(i  weighty  a  subject,  I  was  not  surprised  to  meet  with  oljectors 
I(j  the  proiKised  alteration  in  the  shape  of  so  liumhle  a  servan' 
(if  literature  as  the  h  Uer  f:  readers  iiad  been  sf)  long  accustomed 
to  meet  her  Avith  a  downcast  head,  tipparently  too  weiixhty  to  be 
supported  hy  Iter  f  elile  neck,  that  she  I'ailed  in  meeting  with  a 
welcome  rei'option  in  ;is<uinin:x  tli(>  appearance^  of  strength,  by 
carryiiiLT  lier  head  ujiright.  Let  tis  put  the  two  tor^etlier.  Now 
]  do  not  say  thiit  thouirh  tlie'  beauty  of  the  Irtter  bo  diminished 
by  the  change,  vet  lluit,  in  ('onsideration  of  the  advantage 
attendant  upon  the  change,  we  should  reconcile  ourselves  to  it; 


TYPOGRAPHIA.  93 

but  I  say  that,  independent  of  every  other  view  of  the  matter, 
the  f  which  I  introduce  is  of  a  preferable  shape,  in  ioolv  alone, 
to  the  f  which  I  discard.  I  can  easily  conceive  that  many 
i'antastical  flourishes  which  are  given  to  some  letters  in  old 
jirintcd  books,  had  their  admirers  when  these  books  were  first 
published;  but  it  would  be  difficult  for  any  person  now  to 
succeed,  if  he  were  to  undertake  to  show  their  superior  beauty, 
and  insist  upon  their  restoration  to  use.  I  shall  not  hesitate  iu 
bcinfj  for  once  a  prophet,  and  foretel  that  when  the  f  which  I 
insist  upon  introducing,  has  become  common  in  books,  the  f 
now  admired  will  be  condemned  solely  because  of  its  compara- 
tively inelegant  shape. 

"  I  have  said  thus  much  on  the  f,  because  it  has  stood  in  the 
way  of  the  improvement  which  I  planned,  by  occupying  with 
its  numerous  relatives,  considerable  portions  of  the  composing 
cases. 

"Although  I  condemn  all  the  above  double  letters,  as  inelegant 
and  useless,  as  occupying,  to  the  inconvenience  of  the  compo- 
sitor, a  considerable  part  of  the  area  of  composing  cases,  as 
loading  founts  with  sorts  which  sometimes  remain  new  when 
the  fount  is  generally  worn  out;  as  burthening  the  type-founder 
with  the  expenses  of  punches  and  matrices  from  which  he  might 
be  entirely  exonorated;  yet  I  am  led  to  view  another  sort  of 
double  letters  in  just  as  favorable  a  light  as  those  appear  the 
reverse. 

"  First.  The  nine  logotypes  now  in  use  are  omitted.  They 
,ire  proposed  to  be  printed  with  separate  types,  thus:  ff,  fi,  fl 
Ifi.  ffl,  S.C.  And  the  Italic  \\\us:ff,fl,  S^c.  instead  o{Jf,fi,fl, 
kf.  In  20  pages  of  Enfield's  S[)eaker,  (namely,  from  page 
71  to  C)0,  both  inclusive,)  those  logotypes  occur  only  95  times, 
vi/. 

PRESENT  LOGOTYPES. 


ff  fl   fl   ffi 

fn 

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re 

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?  Total 

23  51    lU    4 

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t) 

0 

S    95. 

"  Sproiulhj.  Ei^ht  new  logotypes  are  introduced.  Theii 
K  O'liljir  and  frerpient  occurrence  ex[)ei!ite  the  process  of  compo- 
sitiun    ill   a   verv    ''onsiderable    degree ;  for.    in   'ho>e   same    2C 


94 


TYPOGRAPHIA. 


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96  TYPOGRAPHIA. 

pages,  the  new  logotypes  would  save  to  the  compositor  no  less 
than  3073  lifts,  viz. 

STAMIOPE  LOGOTYPES. 
th       in       an      re      se      to      of      on      ?  Total, 
771    411    413    3S5    201  279  2G4    229    5  3073. 

"  TIdrdbj.  The  introduction  of  tlie  new  logotypes  and  the 
groat  imperfection  of  the  various  existing  arrangements  of 
composing  cases,  have  caused  the  above  new  and  very  superior 
arrangement  to  be  adopted. 

'•■  FuvrtJdy.  The  front  side  of  each  box  of  th(3  lower  case  is 
made  sloping,  instead  of  upright;  whii'h  shape  is  convenient 
both  to  the  view  and  to  the  hand  of  the  compositor,  and  it 
enables  iiim  to  lift  the  types  with  the  same  rapidity  and  ease 
when  the  boxes  are  nearly  empty  as  when  tli^y  are  full.  The 
types  are  much  better  preserved  from  wear,  by  nif^ans  of  this 
shapf.  It  also  allows  the  lower  case  to  be  made  ilf-t^pcr  than 
usual;  so  that,  two  of  them  contain  as  mufMi  as  three  lower 
cases  on  the  old  construction.  At  tiie  bottoni  of  eai'h  box  of  the 
upper  ca-",  the  internal  fmnt  arras  is  hll'^d  uj). 

••'The  saving  of  tim*.'  is  of  imm"n?e  importan''!\  esp'^fially  in 
all  ca:-es  wh'-rc'  df^^patch  is  particularly  nquircd.  The  \v;\v 
r;\<ri  are,  Ijy  experience,  found  to  save  full  one  dmj  out  oi' six  to 
til-'  comjiositor. 

••  Filti'fu  l)OX'\s  on  tho  left-hand  sid"  of  tlie  upper  case  are 
ri  ;)rf 'tented  ei.aptv.  Tii'-v  are  intended  l''jr  the  sort^  which  are 
?('Ui' limes  u-ed  f'lr  panie'ular  work-;  sucii  a<,  acceini-j  letters. 
mat;i.-n:iauc:il  mark-.  6^i\ 

••  .\s  tiie  ;i>t-  ri-k.  iir  r-iar.  (')  is  very  liable  lo  Im  ji!;.  d  v.-jih  ink 
at   ]ire<<,  u   1^   iuteii;;:!!];!.!!',-  exe'iui!'"!    Ir.'ia  ai.ioiig  tlie  re!f-re[ie.i 


'•  In   t'.ie   i;pr;er  ci-e  I  have  put  a  2;ill'-y  ied^'e  nver  tic-  t'nip' 
rOW'i!"   ImXe^.       I    (I'j   Ip-t    [irepe-e    j)i;I'ing    the    irailev,  us    u-ual, 

iivvarl-  the  r-irht  iiand  <  nd  ef  tne  ca-.',  f  r  I  < ujiy  t'.at  n-iirii- 

L,e.ne.,,]  wi'ii  II- tol  --I't^.  tiiat  !•.  ■■■.r'-  v.-:iie:i  e^y  !,,■  ut't-n 
want'd  in  e  .i,;;h  i-ue  im  ;  iait  I  pr-pe^,.  pla.  ia_r  ta--  Cth-y  -n  th'' 
le;:-!;and  -ii!e  ,,f  liif  ea~".  \v:ii'ai  I  ;:a  ra'.i'e  j-'  ja'e<.  at  a-  eaiptv 
b  xe-,  h-av:a^  liieni  t''  lie  li.i-d  wa-  a  eeea^;  a  r^  ijair^ -.  wita 
ac'>  nted  leuei;-.  i.r   '^ih-r  uaceiil  -   r.- .     Tn:     'ja  ui  t   of   lae 


TYPOGRAPHIA.  97 

case  is  evidently  that  which  requires  the  most  awkward  motion 
uC  the  cuiiipusilur,  if  he  has  occasion  to  go  there  to  take  types 
(jut  of  the  boxes,  and  tlierefore  tlie  most  proper  to  be  generally 
loi't  unofcupied  with  types.  I  consider  the  figures  to  be  fully  as 
well  arranged  as  formerly,  easily  to  be  remembered^  and  better 
placed  in  being  so  compactly  together.  The  small  capitals 
undergo  the  least  change  as  to  arrangement :  this  is,  however, 
clearly  inipro\  ed,  inasmuch  as  their  first  row,  that  most  used,  is 
entitled  to  be  brought  nearer  to  the  compositor  than  the  last 
three  letters  of  the  alphabet,  which  are,  in  comparison  so  little 
used." 

This  logo  system,  we  are  informed,  was  once  attempted  at  the 
London  Times  oflice,  but  soon  after  abandoned^  it  was  found 
(hat  the  hands  could  get  through  much  more  work  by  the  old 
process,  than  by  the  proposed  improvement.  It  was  also  tried 
at  Boston,  Mass.,  some  ten  or  twelve  years  since,  under  our 
own  observation,  and  found  to  be  ineffectual. 

We  must  certainly  coincide  with  his  Lordship  in  his  argu- 
ments in  favor  of  discarding  the  double  letters,  as  we  consider 
them  quite  as  inelegant  and  useless  as  was  the  long  s,  long 
since  discarded. 


98 


TYPOGRAPIIIA. 


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100  TYPOGRAPIIIA. 

It  lias  always  been  a  matter  of  surprise  to  us,  that  so  little 
attention  has  been  paid  to  the  improvement  of  this  importani; 
branch  of  the  compositor's  business,  while  there  seems  to  have 
been  so  much  care  and  expense  lavished  upon  the  other  branches 
of  the  Art.  Presuming  to  be  aware  of  the  defects  of  the  cases 
upon  the  old  plan,  we  have  endeavored  to  furnish  the  trade  with 
what  Ave  deem  to  be  an  essential  improvement. 

In  presenting  our  plan  of  cases  to  the  trade,  we  are  aware  of 
the  many  objections  that  will,  at  first  sight,  be  brought  against 
tliem;  but  we  are  induced  to  believe,  that  after  an  impartial  and 
unprejudiced  examination  of  them,  their  superiority  over  those 
of  the  old  plan,  will  be  readily  acknowledged;  in  short,  they 
have  met  the  decided  approbation  of  all  practical  printers,  to 
whom  they  have  been  submitted,  who  have  expressed  their 
entire  willingness  to  adopt  them. 

We  shall  now  endeavor  to  point  out  some  of  the  advantages, 
on  wliich  our  claims  to  a  preference,  are  founded. 

The  principal  improvement  at  wliich  we  have  aimed,  is  that 
r>f  bringing  all  the  spaces  immediately  under  the  hand,  without 
removing  the  a,  t,  and  other  letters,  but  half  a  box  from  their 
original  places,  or  curtaihng  the  capacity  of  any  of  the  principal 
boxes.  The  advantage  gained  by  this  arrangement  must  !)'-■ 
obvious,  when  it  is  considered,  that  in  spacing  out  a  line,  the 
hand  is  frcquc-nlly  extended  to  the  remotest  parts  of  tli(>  case,  lo 
the  n  ([uaiirat  auJ  thin  space  boxes,  causintj  much  unnecessary 
delav  ia  the  progress  of  composition;  for  it  not  unfre(juently 
occurs,  that  the  time  occu[)ied  in  spacing  out  a  line,  is  greater 
lliaii  that  employeil  in  composing  it;  nor  is  this  iin;nens(!  loss  ol 
lime  confined  to  composing  alone,  tor  in  distiihuling,  the  thin 
spaces  almost  invai-iahly  aci'ompany  tiie  t'licli,  wliirli  in  thi>  (jld 
pi'ui,  miisi  be  droppeil  sonu^  distance  from  each  other,  conse- 
(|iiiiitlv,  iiiuch  tiiiir  ami  hihor  is  saved  hv  the  prox'iiiiitv  of  their 
siioatioii.  It  has  hern  .^aiisi'aetorily  ascertained,  hy  counliiiLT  the' 
n  qiiaih'ats  ami  thin  ,--ipares  in  lOilO  m-s  ol'  matter,  that  tlie 
distance  wlui'h  the  han  1  has  to  travi.Tse  uiiiK-cessarilv,  to  reach 
iho'^e  sorts  ill  their  (il.l  jvisilion,  is  (iMM  }ret  in  lOOO  Ill's,  or  in 
the  same  ratio,  l/:!'!!!  fn-t  in  a  day's  work  of  7000  m's^  ara)  the 
same  distance  a:/a!ii  traversi'il  over  in  di<triLtiiin?, 


TYPOGRAPniA.  fOI 

It  will  be  perceived  by  referring  to  the  schemes  in  the  pre- 
ceding pages,  that  we  have  not  only  brought  the  spaces  together, 
but  also  the  points,  figures,  and  double  letters,  and  by  curtailing 
the  ?  and  !  boxes,  have  brought  all  the  double  letters  into  the 
lower  case;  these  alterations,  though  seemingly  of  minor  im- 
portance, nevertheless  render  the  position  of  those  sorts  more 
consistent  in  their  arrangement. 

We  have  thought  it  quite  unnecessary  to  enter  into  a  minute 
detail  respecting  the  particular  position  which  each  letter 
occupies,  believing  that  the  members  of  the  profession  generally, 
are  possessed  of  sufficient  penetration  to  discover  why  those 
letters  most  used,  are  placed  nearest  the  hand. 

In  the  arrangement  of  our  upper  case,  we  also  beg  leave  to 
diO'er  from  the  customary  plan,  by  transposing  the  capitals  and 
small  capitals,  and  by  introducing  the  J  and  U  or  V,  in  their 
regular  order  in  the  alphabet,  with  some  few  alterations  of  little 
consequence.  Our  reason  for  transposing  the  capitals  and  small 
capitals,  must  be  apparent  to  every  practical  printer,  upon  a 
moment's  reflection,  their  old  position  requiring  one  of  the  most 
awkward  movements  of  the  body,  to  reach  them.  We  can  see 
no  reason  why  the  J  and  U  or  V,  should  not  occupy  their 
respective  situations  in  the  alphabet,  since  their  admission  into 
general  use.  This  arrangement  would  prevent  considerable 
confusion  in  regard  to  the  position  of  the  U  and  J^,  as  some 
offices  leave  out  the  L^,  and  others  the  V,  consequently,  those 
boxes  are  frequently  found  to  contain  a  mixture  of  both  letters. 

Our  object  in  offering  these  few  remarks,  is  more  particularly 
to  call  attention  to  the  improvement  of  the  lower  case,  as  many 
printers  consider  the  arrangement  of  an  upper  case  as  a  matter 
of  but  little  importance;  to  such,  we  would  only  recommend  the 
lower  case,  believing  that  the  alterations  are  of  sufficient  conse- 
quence to  receive  thei"-  notice. 


L.\Y1XG  OF  CASF,?J. 
"^I'liis  process  consists  in  fillin'j  the  cases  with  the  respective  sorts 
luiitained  in  u  new  foinit  of  letter. 

After  havinii  a^c'Ttaincd   tiu->  wt-i2:lit  of  the  fujnt,  and   pro- 
vidfil  ijiir<i!vi<  wiiii  a  -■iiiiicit-nt  nuinlaT  of 'Msc--,  (sav  o:ie  pair 


102  TYPOGRAPIIIA. 

of  cases  to  about  every  fifty  or  sixty  lbs.  of  letter.)  and  a  foiinr 
case,  we  begin  to  lay  the  letter,  filling  each  box  moderately  wuh 
its  proper  sort;  after  which  we  deposit  the  remainder  in  the 
fount  case,  v/hicli  is  put  in  some  convenient  place  till  wanted. 

As  new  letter  is  very  liable  to  stick,  after  having  been  wette;], 
it  would  be  advisable  to  sprinkle  it  with  a  little  strong  soap 
water,  which  would  greatly  tend  to  prevent  such  unpleasant 
consequences. 


DISTRIBUTIXG. 

DisTRiBCTi.NG,  or  convcyiug  the  different  sorts  of  letter  to  llipir 
respective  compartments,  is  generally  the  first  of  a  compositor's 
practical  exercise;  though  it  would  be  found  more  advantageous 
both  to  employer  and  employed,  were  this  custom  sometimes 
reversed,  and  composing  made  antecedent  to  distributing,  whicli 
depends  upon  a  perfect  knowledge  of  what  is  contained  in  eacli 
of  the  dillerent  boxes  in  a  pair  of  cases.  But  as  the  arrange- 
ment of  sorts  differ,  in  some  degree,  in  almost  every  printing- 
oflice,  it  follows,  that  such  irregularities  must  have  their  eiTerts 
accordingly;  of  which  we  do  not  want  for  instances.  The  first 
that  offers  itself  to  our  observation,  is  the  loss  which  a  compo-^i- 
tor  sustains  every  time  he  changes  his  place  of  work;  for,  l)eing 
unacquainted  with  the  situation  of  each  sort,  he  is  hindered,  for 
some  time,  in  his  quick  and  ready  way  of  distributing,  which 
miaht  bf)  easily  prevented,  were  establishers  of  new  houses  to 
fullnw  onn  uniform  nrethod. 

Other  evils  result  from  tiiis  want  of  uniformitv,  which,  as  we 
fiave  before  observed,  equally  affect  both  the  employer  and  the 
em])lrived.  Some  compositors,  rather  than  charge  their  memorv 
with  thi'  different  situations  of  j)articular  sort'^,  transpose  tiien; 
nilD  such  boxes  as  cnntained  them  at  their  last  place  of  v/ork, 
consequentlv  the  sitiialion  of  the  letters,  in  that  Ivinian  case,  m 
)-a>-t,  IS  de>troved,  and  the  transposed  sorts  not  l)'ing  replaced, 
the  b'lxes  lir-come  receptacles  for  jii,  for  tlie  ri;jhl  sorts  being 
(listfibiited  at  the  top,  the  undermost  are  rendered  useless,  becau^t- 
they  are  not  expected  to  lodge  in  quarters  that  were  not  assigns! 
tli<-!n;  theref )re,  if  the  hiiUien  sorts  happen  to  run  short,  tliev 
must  be  re-cast. 


TYPOGRAPHIA.  103 

It  would  be  the  means  of  preserving  a  clean  pair  of  cases 
were  they  filled  and  provided  with  letter  for  a  new  compositor 
to  begin  his  work  upon,  that  by  composing  first,  he  might 
become  acquainted  with  the  contents  of  his  boxes,  and  be  better 
prepared  for  distribution ;  but  as  few  compositors  fee'  inclined 
to  quit  the  beaten  track,  and  as  a  difficulty  would  occur  in 
compelhng  them  to  leave  the  cases  ns  they  found  them,  or  if 
they  did  leave  them  full  of  letter,  might  distribute  it  carelessly, 
knowing  they  would  not  have  to  set  it  out  again,  the  evil  might 
be  still  far  from  being  remedied. 

To  make  a  young  apprentice  the  sooner  fit  for  distributing,  lie 
should  be  informed  that  there  are  some  letters  that  resemble 
others,  and  at  the  same  time  be  shown  how  to  distinguish  one 
from  another;  viz.  b  from  q,  d  from  p,  I  from  /,  n  from  %i,  &c. 
And  in  order  to  prove  whether  he  has  acquired  a  perfect  know- 
ledge of  the  distinction  between  such  letters  as  have  a  similarity 
to  each  other,  let  the  young  compositor  distribute  a  handful  of 
broken  matter  into  an  empty  case,  and  if,  upon  examination, 
the  before  mentioned  sorts  are  found  in  their  proper  boxes,  he 
may  be  trusted  to  distribute  for  himself.  But  before  he  proceeds, 
he  should  be  cautioned  not  to  take  up  too  much  matter  at  a  time, 
for,  should  he  break  his  handful,  he  will  have  the  less  pi  to 
clear.  Even  to  those  who  are  not  likely  often  to  meet  Avith  this 
accident,  the  caution  is  not  unnecessary,  as  too  great  a  weight 
weakens  the  wrist,  and  it  is  a  mistaken  notion  that  it  saves  time, 
fir  if  one  handful  falls  into  the  case,  it  will  be  more  than  equi- 
v:il('!U  to  the  time  gained. 

In  taking  up  a  handful,  the  head  of  the  page  should  be  towards 
the  distributor,  which  prevents  the  trouble  as  well  as  danger  of 
turning  it  round,  in  order  to  have  the  nick  uppermost.  So  much 
niuiter  only  should  be  taken  at  a  time,  as  can  be  conveniently 
liflil  \a  the  left  hand,  and  not  to  be  higher  than  the  thumb, 
wliich  cuards  the  ends  of  the  lines  from  falling. 

lie  should  be  careful  not  to  throw  the  letters  into  the  case 
K  ith  their  face  downwards,  as  it  batters  them;  neither  should  he 
ili^trihute  his  case  too  full,  for  it  iuvarial)ly  creates  pi. 

fit'  .-lioiild  not  be  impatient  to  acquire  a  quick  metliod  at  first; 
nis  principal  stiidv  should  he  propriety,  tliough  his  progress  be 


lot 


TVl'OailAPIilA. 


alow;  lliai  aHuiui'Ll,  Hxp.-Llitiuii  will  fuHuw  Ircjiii  prai'ticp,  and  li>- 
\\'i!l  iiiul  lii,<  auv;int;i2'''  ill  r.uiti[)o>Aiig  I'ruiu  a  clean  casr-,  thou^^'ii 
he  niav  b:'  loniT'  r  in  di.-Liiljutiiiir  it.  A  man  l<jses  double  {'.[•' 
tiiuf  in  corr>-ciin2'_.  that  he  imagines  he  saves  frum  quick  dir^tr',- 
biition. 

"With  many  compositors  much  time  is  unnecessarily  lost  in 
loul{in_'-  at  ih(>  word  befon;  they  distribute  it.  By  proper  atti-ntion . 
tiie  l(;arnf'r  may  avoid  tliis,  and  become,  without  the  appearance 
of  hurry,  an  expf^-ditious  as  well  as  a  clean  distributor.  To 
attain  wiiich,  Ave  would  recomm.'md  him  never  to  take  more 
letters  b'-tween  the  fingers  than  he  can  conveniently  hold,  and 
if  pos^ibh',  alwavs  to  take  an  entire  word:  to  keep  his  handful 
on  an  iiedinin^,'  [)osition,  so  that  the  lace  of  tlie  letter  may  couif^ 
mure  iminediati'ly  under  his  eye.  By  proper  attention  and 
praetice  lie  will  become  so  complet<'ly  acquainted  wiili  the 
|j.-ard  or  shoulder  of  tiie  tvpe,  as  to  recognize  the  word  he  takes 
IViHU  his  handful,  with  the  cursory  view  he  may  have  of  it 
vvliil''  in  th»'  act  of  lifting. 

It  is  to  this  metliod  that  so  rnanv  in  the  business  are  indedjtcd 
for  th<-ir  exp'-dition  and  cleanness  in  distribution;  though  to  an 
observer  the  inove-ments  of  tlu-ir  hands  appear  but  slow.  It  is 
not  to  vi'lui.'ity  of  movement  tliat  compositors  are  indebted  for 
their  expe.lition,  either  in  composing  or  distriiiutinu' — it  is  to 
if/.f/f/zi,  AsdiiiMUt  ■vxiiich  tiieir  ati'Mnpts  mav  iia\e  tiie  appearance 
■jf  expedition,  I)nt  ])rodu(;e'  nniv  faticr'ie  from  anxi^-ty  an  1  fal-e 
molion.  I'herefjr".  to  system  Ave  v.';juld  particularlv  call  tlu-ir 
att'-ntion.  and  a-  clean  di-tribulion  piuduce^-  cl'-an  coiiip(;-i[ion, 
wli!'-h  nut  Diilv  sa.\''--  lim"  at  t!ie  ^i  ,ni-.  I»ut  a^'iinir.'^  tbeui  a 
ri--peei;i'.!,-  nauii',  iiiev  r.iii  n  )t  be  t  I  )  ait'Mitive  I  ,  t!i;\t  part  nf 
la'ir  b:i-iae-.<. 

Aiiutlier  mat. -rial  p'.iat.  b-!iire  di^uiliutin^'.  i-^  tiie  -well  laving 
up    111'   i^e'    i'lrm.      In    tiii^    j),ir:iei;l;ir    manv    ci.iinpuviturs    are 
^;i:i!iie;ii';ly    rei:i;^<.    a'v!    fi'  iiii    \\\i<    ie-i:'i::i-n'-i-    ari-e    ine'onve 
ni"nc.'<   t':,  li    I  ■-■■    iniii-"    lim  ■    ihati    J''  tii    v   had    tak^n    tie-   fii->l 
ti-nubl-'.  '!.■-!  !    -  t:e-  uiip'.a-aata  --  !,f  w^iilvina'  with  dirtv  leti^T. 


11, .1  alw  iv-^ 


■pt  ri..;ni.  and  tiie  b  >{l >u\ 


R<  w.-Il  a-^  t:i"  I'ac"  ei'  ih-  I' .rm  W'il  v;a-'i'-!  b-fur"   it  is  laid   uu 
tlie  board  a:i  1  iMi'ic!:,.  ],  !;,!■  it'a;i\   ul'  lb -dirt    re;uain   frum  'i;e 


TYFOGRAPIIIA.  105 

Ik;  brut-li  after  it  i.s  unlocked,  it  will  sink  into  the  matter  instead 
of  ruiining  oil'.  This  jireraution  taken,  the  pages  should  he 
well  0})ened,  and  the  wlioh;  form  Avashed  till  the  water  appears 
to  run  from  it  in  a  clean  state.  A  form  can  not  be  well  laid  up 
ivithout  plenty  of  water.  Jf  the  I'orra  appears  particularly  dirty, 
it  is  best  to  lock  it  up  again,  which  works  out  the  hUh;  then 
rinse  tlie  bottom  of  it,  and  proceed  as  before. 

Many  compositors  Ivcep  a  piece  of  alum  in  tlieir  cases,  in 
order  to  contract  the  grain  of  the  skin  of  their  fingers  when 
distributing  slippery  leltcn-;  this  is  a  declaration  of  their  want  of 
cleanliness,  for  had  they  washed  their  letter  properly,  it  would 
not  be  slippery. 

It  is  somi'times  m^cessary  to  dry  the  l(;tter  at  the  fire  after 
distributing;  it  is  particularly  recommended  not  to  use  the  letter 
after  it  is  dried  in  this  way,  until  it  is  perfectly  cold,  as  very 
pernicious  effects  arise  from  the  antimony,  which  the  heal  of 
the  fire  brings  into  action,  when  joined  to  the  tender  particles  oi 
the  skin;  nor  to  stand  near  the  case,  either  while  at  the  fire,  oi 
until  completely  cool.  The  noxious  vapor  which  arises  is  so 
easy  to  be  perceived  that  it  must  alone  be  sufficient  warning  of 
the  effects:  it  is  the  only  part  of  the  business  that  has  any  thing 
injurious  to  health,  and  being  entirely  at  the  choice  of  the 
compositor,  he,  for  his  own  sake,  ought  always  to  avoid  it  as  a 
[lestilence,  which  will  equally  effect  his  n^spiration  and  his 
sinews,  by  the  former  instantly  affecting  his  lungs,  and  the 
latter  causing  contractions  of  the  fingers.  It  is  always  better 
where  it  can  be  conveniently  managed,  to  distribute  at  night,  oi 
^)efore  meals,  so  tliat  the  letter  may  dry  without  artificial  heat. 


OBSERVATIONS  ON  COMPOSING. 

CoMi'osiNG  is  a  term  which  includes  several  exercises,  as  weL 
of  the  mind  as  the  body;  for  when  Ave  are  said  to  compose,  we 
are  at  the  same  time  engaged  in  reading  and  spelling  Avhat  w-: 
are  composing,  as  Avell  as  in  taking  care  to  space  and  to  justify 
our  matter.  Eut  tiiat  we  may  observe  some  method  in  our 
remarks,  Ave  will  begin  with  Avhat  inmicdiaiely  [jrecedes  the 
'lomposition 


1W5  TYPOGJIAPHIA. 

When  the  copy  of  a  work  is  ()iit  into  the  uands  ol  liic  com- 
positor, no  should  receive  directions  resp(_'Cting  the  width  and 
length  ot"  the  page;  whether  it  is  to  be  leaded,  and  with  white 
lijies  between  the  breaks;  and  whether  any  particular  method 
IS  to  be  followed  in  tlie  punctuation  and  in  the  adoption  of 
capitals.  These  instructions  being  given,  the  compositor  will 
make  his  measure  to  the  number  of  m's  directed,  which  is  done 
by  laying  them  fiat-ways  in  the  composing  stick,  and  then 
scrt'wing  it  up,  not  too  tight,  as  it  is  apt  to  strain  it,  nor  so  slack 
as  to  allow  the  measure  to  give.  lie.  then  fits  a  setting-rule  to 
the  measure,  and  his  case  being  supplied  with  letter,  he  is  pre 
pared  for  composing. 

If  the  copy  he  is  to  begin  on  be  a  re-print,  he  will  observe 
whether  there  be  any  difference  between  the  type  he  is  about  to 
use  and  the  copy,  so  that  his  spacing  may  not  be  affected, 
against  which  he  must  take  the  necessary  precautions  at  the 
time,  by  widening  or  lessening  his  measure,  if  solid  matter,  or 
driving  out  or  getting  in  each  paragraph,  if  leaded.  He  should 
select  a  close  spaced  line  from  the  copy,  which  will  at  once 
prove  if  there  be  any  variation. 

Being  now  provided  with  a  case  of  letter,  and  all  the  requisites 
for  composing,  we  examine  the  copy,  to  ascertain  if  it  be  written 
fair  and  legible,  and  spelled  and  pointed  according  to  the  mod(^rn 
way.     Upon  this  subje'ct  Smith  tlius  rem;irks: — 

"  if  therefore  it  happens  that  the  copy  turns  out  to  our  liking, 
we  wish  tlie  work  to  last  long;  whereas  if  it  proves  otherwise, 
we  arc  glad  to  have  donewith  it,  especially  if  the  author  should 
chance  to  be  a  humorous  gentleman,  and  unacquainted  with  the 
nature  of  printing;  for  then  a  (XMiqjositor  is  obligi'd  lo  conform 
In  till'  fancy  of  his  author,  and  sometimes  to  huddle  his  work  up 
ni  sucli  a  manu'T  as  exposes  t)oth  him  and  his  enqiloyer ; 
wiiereas  the  gentliuian  that  pursues  the  elal.ioration  of  his  plan, 
aihl  leavs  the  gracing  of  his  work  to  the  juu2:nient  of  the 
printer,  seldom  linds  ronm  to  ]>•■  (li---<ati<lled  upon  that  sc(jre. 

••  liv  the  laws  (if  prinlilll,^  inderd,  a  cmnixisitDr  should  aljide 
l)V  liis  V()\)\.  and  iml  vary  from  it.  that  he  niav  clc'ar  himself,  ;n 
case  \if  sh(juld  he  rliarired  with  liavini,'-  made  a  fault,  llul  lliis 
i/uo;l    law  is   ii"\'.    k'l'lv  d   MpiHi   a-  r,(r.. jlete,  and    mo,>t  authors 


TYPOGRAi'HlA.  107 

expect  llie  [)rinler  to  spell,  point,  aud  digest  their  copy,  that  it 
may  be  intelligible  and  signilicant  to  the  reader;  which  is  what 
a  compositor  and  the  corrector  jointly  have  regard  to,  in  works 
of  their  own  language,  else  many  good  books  would  be  laid 
aside,  because  it  would  require  as  much  patience  to  read  them, 
as  books  did  wlien  no  points  or  notations  were  used;  and  when 
nothing  but  a  close  attention  to  the  sense  made  the  subject 
intelligible." 

Having  taken  particular  notice  of  the  state  of  the  copy,  and 
received  directions  respecting  the  method  to  be  adopted  in  the 
execution  of  it,  he  then  commences  his  work.  It  will  not  be 
improi)er  to  point  out  in  this  place,  what  we  have  before  ob- 
served, that  an  ill  habit  once  acquired,  is  Avilh  great  difficulty 
shaken  ofl' — truly  ludicrous  are  the  attitudes  and  motions 
exhibited  by  some  compositors,  while  performing  the  operation 
of  composing;  such  as  nodding  the  head,  agitating  the  body, 
throwing  out  the  arm,  ticking  the  letter  against  the  case  or  the 
setting-rule,  with  numerous  other  false  movements,  which  not 
only  lose  time,  but  fatigue  the  mind  and  exhaust  the  body.  The 
swift  movement  of  the  hand  is  not  always  a  just  criterion  of  the 
quick  progress  of  a  compositor.  In  proof  of  which,  the  following 
anecdote  is  given: — 

"  A  gentleman,  some  few  years  back,  not  a  professed  printer, 
though  the  proprietor  of  an  extensive  concern,  gave  orders  to  his 
overseer  to  discharge  a  compositor  who  had  not  the  appearance 
of  moving  his  arm  so  quick  as  others  in  the  office  with  him; 
but  his  overseer  Avas  able  to  convince  him  that  this  man  was  not 
only  the  neatest,  but  the  most  expeditious,  and  consequently  the 
most  valuable  man  in  his  employ." 

The  left  hand,  which  contains  the  composing  stick,  should 
always  follow  the  right,  which  takes  up  the  letters.  If  the 
former  bo  kept  stationary,  considerable  time  is  lost  in  bringing 
each  letter  to  the  stick,  because  the  latter  would,  consequentlv. 
have  to  traverse  a  much  greater  space  ilian  is  nccessarv  :  the 
eve  should  instantly  jirecedt.'  t!ie  hand,  bfing  steadilv  fixed  upon 
that  particular  letter,  which  ]lr<  with  the  nir-lc  from  you.  whirli 
should  be  takin  up  by  thi/  upper  ))art:  ilus  would  elleclually 
pu'veni  any  laL_e  moiiun.  and  pn  t  ludr  tlic  h<M-(  -.itv  oJ  turjin.g 
lit 


iU3  TV1'0;;RAP111A. 

the  lolU  rs  whi-u  m  tiic  hand.  A  s'JiiU'nce  of  the  copy  should  lye 
Uik':'n,  if  pos^ildn,  at  oik;  tiiiU',  and  while  putting  in  the  point 
and  space  wiiicli  cuncludes  the  sentence,  the  eye  is  at  full  liberty 
to  revert  a:rain  to  the  cjpy,  for  a  fresh  oue.  It  is  to  perfection 
in  this  particular,  that  tiiose  compositors  who  are  so  much 
admired  in  tiie  profession,  are  indebted  for  their  swiftness, 
riie  time  thus  gained  is  very  considerahl",  witliout  the  least 
appearance  of  bustle  or  fatigue.  By  th(;ir  taking  a  sentence  into 
tiie  ni^.'intjry  at  one  time,  they  preserve  the  connexion  of  the 
juhject,  wiiich  renders  tlie  punctuation  less  dilhcult. 

The  compositor,  from  habit,  bfcomes  so  well  acquainted  with 
the  peculiar  f 'cl  of  each  type,  that  lie  can  generally  d'Vt<'ct  a 
wrong  letter  v.'iiiiout  looking  at  the  face.  Tliose  wiio  are 
careful  in  tlieir  distribution,  find  tlte  advantage  of  it  in  cc-impo- 
sition.  Wliat  greater  disgrace  can  !)e  attached  to  a  compositor, 
tiian  being  denominated  a  foul  or  slovenlv  workman  ?  To  avoid 
this  stigma.,  he  siiould  use  his  earnest  endeavor:  it  would  even 
be  bettf  r  tiiat  he  sluuld  read  every  line  as  he  composed  it,  than 
to  lose  so  much  (jt'  his  lime  at  tlie  stone,  independt-nt  of  the 
disgrace  just  ni'^ntioned.  Jf  lie  accustom  liijii^elf  to  _'"lance  his 
eye  ov(-r  c-ach  lin'",  as  he  justihes  it,  lu'  will  lind  it  turn  irrt^atly 
to  his  account,  without  th"  h'ast  impediment  to  his  iirou'ress. 

L'nif  jrmity  in  spaeing,  unfpj;'<tii)na!jly,  is  a  most  important 
part  of  tiie  comjiosi'ior's  occupation;  this  ri'q'iifs  both  care  and 
judguifiil,  and.  tiieret'or'\,  cannot  b;'  tno  sironii'lv  impressed 
np-in  the  mind  ot"  the  ynuni,^  be^onner.  Close  spacing- is  equallv 
unpleasant  Uj  Tne  sight  as  widf-  sj)acin2'-  and  (;ught  n"\"("'r  toi  ]in 
per|]nii,.il,  exi'ept  in  very  narrow  measures;  and  frefjuenilw 
even  t!en,  wuh  care,  it  mi^'lit  jiartly  he  prevt  nted.  What  i-- 
commoiilv  callei]  the  c-nnpuvincr  space,  is  tlie  be^t  and  proper 
separation  Ic  tween  each  word;  thou^'ii  thi<  rule'  cannot  alwavs 
be  adliered  to  in  narrow  measures,  when  lari''''  tvpe  is  used.  It 
is  not  ni'TeJv  ii"e'-s-;ary  to  have  a  line  '...re  and  there  uniformly 
spaeei] — a  e;.u-.  ful  erHujio-itor  evince<  an  anxietv  to  crive  every 
p'lire  that  uii;f'.rnii!\'  of  app'-aranee.  m  wiii'di  consists  one  ol' its 
cnieti-t  exc  h'-nei.-s.  ('ard'-^  and  foul  Compositors  v.-iil  never 
[)i'-s'-r\-i-  liii-  i;i  i-t  de-irabb-  iini t' Ttiiitv  ;    becao-e.   wiien    their 

l^i'joi   I-    '  roW'ied    Wltii    eijrre(;;ion-.   'ae    Uti!l")St    p'j-sibi':'    '"an-    m 


TYl'OGIIArillA.  109 

recfilying  iho.^e  blurulcrs,  will  not  make  the  spacing  regular. 
Theretbre,  we  wish  to  impress  this  important  maxim  upon  the 
mind  of  the  young  heginner:  that  it  is  bettor  to  do  little,  and  be 
determintxl  to  do  that  little  well,  than  to  be  anxious  to  put 
together  a  great  number  of  letters,  without  any  regard  to  accu- 
racy and  uniformity.  Authors,  certainly,  should  send  their  copy 
Jinally  corrected  to  the  pressj  tor  when  alterations  and  additions 
are  made  in  the  proof  sheet,  it  becomes  dillicult,  where  there  are 
few  paragraphs,  to  make  the  spacing  equal. 

In  correcting,  many  compositors  do  not  over-run  the  matter, 
through  the  stick,  as  they  ought  to  do,  but  prefer  doing  it  on  the 
stone,  in  Avhich  case  they  not  unfrequently  hair  space,  or  treble 
space,  in  order  either  to  get  in  or  drive  out  a  word;  when,  by 
over-running  a  line  or  two  forward  or  backward,  they  would 
not  only  preserve  uniformity,  but  also  save  considerable  labor. 

In  a  late  work  upon  this  subject,  we  find  a  mixture  of  all  the 
spaces  (except  the  hair  space  and  n  quadrat)  stronglv  recom- 
mended, in  which  it  is  urged  that  it  would  expedite  the 
compositor  in  his  justification — in  this  instance  we  must  differ, 
and  shall  ever  contend  against  any  advantage  being  derived  from 
so  slovenly  a  practice.  For  how  many  compositors  are  there, 
who  would,  upon  finding  their  line  to  justify  without  aa  altera- 
tion of  the  spaces,  take  the  trouble  to  examine  whether  the  thin 
spaces  were  not  between  perpendicular  and  tlie  thick  ones 
between  sloping  letters;  which  would  be  in  direct  violation  of 
the  only  true  rule  for  even  spacing — and  should  there  be  any 
that  would  even  condescend  to  take  that  trouble,  what  advantaiye 
would  they  gain  by  mixing  their  spaces  in  distributing  and 
assorting  them  from  their  slick  while  composing;? 

Wliere  a  line  is  even  spaced,  and  yet  nquires  justification, 
the  additional  spaces  should  he  put  between  those  ^vords  in  the 
line  ^vhere  it  will  be  legist  observable,  vi:.  a  d  and  an  /t  being 
perpendicular  letters,  will  admit  an  addiiion,  hut  not  more  than 
a  middle  and  thin  space  to  a  thick  spaci-d  line;  or,  after  a  kerned 
jt'ttcr,  the  beak  of  wiiich  may  bear  upon  the  tup  ot' an  ascending 
letter,  as  the  "and  the  /),  i.  /,  kc,  but  not  a!\v;iys  after  a  kerned 
letter,  as  the  _/'  and  the  ic.  v.'here  tlie  disianc(>  would  in  some 
cases  !;e  too  conspicuous 


no  TYPOGllAPHIA. 

The  same  rule  should  be  observt-d  wriere  it  may  be  necessary 
to  reduce  the  spacing  of  a  line;  less  space  being  required  atVr 
a  sloping  letter  than  a  perpendicular  one,  the  comma  requires 
only  a  thick  space,  but  the  other  points  should  have  a  bail 
space  before,  and  an  n  quadrat  atV'r  them,  except  the  full  point, 
which  should  have  an  ra  quadrat,  as  terminating  a  sentence. 
Still  this  rule  will  not  always  hold  good,  it  must  depend  entirely 
upon  circumstances,  for,  should  it  be  necessary  to  reduce  the 
spacing,  those  spaces  after  the  points  must  also  be  altered  in  the 
same  proportion.  Spaces  are  now  cast  to  such  regular  grada- 
tions, that  tlie  compositor  can  urge  no  reasonable  excuse  either 
for  bad  ju.-titlcation  or  improper  spacing. 

Having  made  these  pruliminary  and  most  essential  remarks, 
we  shall  now  proceed: — Should  the  length  of  the  page  be  left 
to  the  compositor's  discretion,  he  then  sets  such  a  number  of 
lines  as  he  conceives  to  be  a  proportioned  page,  this  is  sfenerally 
taken  at  nearly  double  the  width;  he  n^-xt  puts  in  the  head  and 
direction  (if  any.)  and  cuts  an  exact  guage  as  follows: — afier 
having  mark'-d  oif  the  lenirth  of  the  paje,  we  then,  with  a  sharp 
penknif(%  make  a  light  mark  at  the  bottom  of  eacli  liuf^,  com- 
inen'dng  after  the  first:  these  marks  are  of  tiie  greatest  '^'•rvii^t' 
to  a  neat  compositor,  he  is  thereliv  en;ibled  to  make  up  his  work 
with  2'i"f''Tter  Certainty  and  h-ss  trouble,  jiarti'nilarly  when  i:ie 
work  consists  of  ligiit  matt':^,  head<.  sub-iieails,  quotalinns.  ^vc. 
This  is  done  l)''fore  he  niak<-s  up  ihi'  jir-l  page,  as  that  wili  vary 
accordiiio'  to  tiif  (liirt-rent  f  nmts  which  are  nec<'ssarily  introdr.i'--,]. 

Head  linev  arc  irnivrallv  Sft  in  small  i^apitals  of  tii.'  s.iui'' 
rnunt.  or  in  itali'',  and  S'im--tinv-<  in  capitis.  Capital-  of  h'",.)- 
almut  thr'"-  >[/.i->  smaller  ihan  tin.'  1)  nly  of  tiio  woik.  ^vita  f  ii.'i^, 
ol'  a  pri'jinrti.  inablc  >i/'\  havi'  a  murii  iii-at'-r  ajipi-aranc;  fuaa 
ei;'a'-r  oi'  t'n"  t'a-.-ir  ':n_^  If  <>ii\y  f^ai'-  arc  [dac  .1  at  I'ac  ii,p  i,{ 
the  \)-i2-.  ii  i-  liftt'-r  t)  111  ik"  U-'  of  ti_'Mr>-  of  rath-r  a  b  .id 
•  ippcaraai'o.  wi'lioiit   pa.r-aitiio-^i-;  nj-  braolo-ts. 

I  )ir'-<'t;o:i  ^v-rd-  a;  I'ln-  biilt^ini  of  liif  pair"  ar^  not  unw  ^'-nc- 
fall\'  u-i-il:  til"  onii~<ii,ii)  '.ftlaMo  (!'.■■<  not  iiiinrc  tiie  appearance 
of  t'ai-  wiirk'.  liiit  -a\'o<  tiui''  a.nd  cxpoii'-o  wia-i'o  o'/errunning 
ociairs  in  tlio  pr  I'f:  ii";-;'r;',i.I"--.  lii  niakini,'-  up  the  pa^"  it  is 
!2C'cessary  to  >ulj-;roiit'  a  v>di;to  l.ao  t'or  t'ae  .-iguaturc.  volume,  ^^c. 


TYPOGRAPIIIA.  Ill 

Much  trouLIe  and  loss  of  timo  was  formerly  experienced  by 
compositors,  in  making  up  the  first  page  of  a  work,  when  they 
had  to  introduce  head-pieces  and  facs,  formed  with  flowers  of 
diiTerent  bodies.  This  taste  for  flowery  decorations  is  now 
exploded,  and  it  is  only  necessary  to  set  the  title  of  the  work  in 
a  neat  tvp'".  The  setting  of  titles  must  depend  on  the  fancy  and 
ingenuity  of  the  compositor,  and  the  fashion  of  the  day,  (which 
varies  materially  from  year  to  year,)  under  general  directions 
from  the  employer,  as  no  fixed  or  certain  rule  can  be  laid  down 
for  this  purj)ose. 

The  compositor  will  also  receive  directions,  when  there  are 

notes,  what  letter  they  are  to  be  set  in.     The  usual  rule  is  for 

thn  notes  Xo  be  two  sizes  less  than  the  text  of  the  work:  thus, 

!()   Pica   work,   Long    Primer;    Small   Pica,    Bourgeois;    Long 

Primer,  Brevier.     Side  notes  are  usually  smaller  in  proportion; 

and  when  tlic  NVurk  is  of  the  nature  of  bibles,  law-books.  Sec,  in 

wliich  the  side  notes  or  references,  frequently  drive  down  more 

than  the  hues  of  the  text  to  which  they  refer,  the  expedient  of 

cut-in-notes  must  be  resorted  to.     This  is  a  difhcult  part  of  a 

compositor's  business,  and  requires  much  skill  and  patience  to 

adjust  all  parts,  so  that  every  line  of  note  and  text  may  have 

jiroper  and    equal    bearing.     The   reglet,    scaleboard,    or  lead, 

which  is  placed  between  the  lines  of  matter  and  the  side-note 

must  be  cut  with  as  much  nicety  as  possible  to  the  length  of  the 

text,  as   far  as  wiiere  the   note   is   to   run  under;  and  having 

accurately  adjusted,  by   mc-ans  of  the  quotations  and  justifiers, 

the  situation  of  the  first  line  of  the  note,  such  lead  or  scaleboard, 

is  added  to  the  text  as  will  make  it  preci.-ely  correspond  in  depth 

wiih  tlie  lines  of  note  that  stand  on  the  side  before  turning;  :  the 

r.  mainder  of  the  note  is  tlien  set  in  a  long  measure,  to  corres- 

jiond  in  width  with  the  text,  reglet,  and  side-note;  and  the  page 

i'-  made  up  with  note,  or  the  text  begun  again  after  the  note  is 

fiiiivhed.     In  bibles  with  notes  and  annotations,  in  law  books, 

s<!me  classics,  and   other  works,   it  frequently  happens   that   a 

p:i::e  exhibits  several  of  these  alternate  frame-works  of  note  and 

I.  xt,  wliich.  if  done  well,  display  a  workman's  skill  to  the  best 

;:d\  aiitaire ;  but  if  done  at  all  ill,  noiliiiig  exhibits  a  more  vde 

::;  jn  arance. 

1;  - 


1 12  TYPOGIIAPHIA. 

Ou  boginning  a  work,  the  compositor  should  be  informed 
what  number  of  volumes  it  is  intended  to  be  comprised  in,  in 
order  that  he  may  place  the  number  of  the  volume  in  the  left 
liand  corner  of  the  signature  line,  in  the  first  page  of  every  sheet. 
Tlie  above  and  the  signature  are  generally  put  in  small  capitals; 
and  where  they  extend  to  more  than  one  alphabet,  the  second 
one  should  begin,  2a,  2b,  and  so  on.  In  our  opinion  the  sig- 
nature is  much  better  both  in  appearance,  and  for  collating, 
when  placed  within  about  six  m's  from  the  end  of  the  line,  than 
in  tiie  centre,  according  to  the  old  custom. 

The  title,  preface.  Sec,  of  a  volume  is  always  left  till  the  body 
of  the  work  is  finished,  as  many  circumstances  may  arise  in  the 
course  of  its  progress  through  the  press,  which  mav  induce  the 
author  to  alter  his  original  preface,  date.  Sec.  or  the  work  may 
conclude  in  such  a  manner  as  to  admit  of  their  being  brought  in 
at  tlie  end,  in  order  to  complete  a  sheet,  which  may  save  botii 
paper  and  press  work.  For  this  reason  it  is  customary  to  begin 
the  first  sheet  of  every  work  witli  signature  b,  leaving  a  for  the 
title  sheet.  To  a  sheet  of  octavo,  two  signatures  only  are  neces- 
sary, wliieh  arc  placed  to  the  first  and  third  pages;  to  a  sheet 
of  twelves  three  signatures,  to  the  first,  third  and  ninth  pages, 
thus,  B,  ii2,  b3. 

In  works  printed  in  lialf  sheets,  figures  are  generally  usi^d 
instead  of  le'tters.  This  plan  is  considered  to  cause  less  confu- 
sion with  tlie  binder,  jiarticularly  in  works  of  five  or  six 
liundred  pa^'es. 

In-tead  of  beginning  the  work  with  a  two-line  letter,  ai?C!)rJ- 
iiig  to  tlie  old  eusiom,  capital  letters  liave  a  nnii'h  neaiT 
app.  arance :  ihe  remainder  of  the  word  may  he  put  eilh^'r  lii 
capitals  or  small  eapilals.  the  latter  i>  m  isl  prel'Table. 

"We  now  proeei'.l  lo  the  seiNiiid  pa^"'',  and  set  tin?  running 
titjr  in  a  neat  ji'iier  proportioned  to  the  size  of  tlie  pa:ie;  hn; 
'hiv  mii-t  ho  aoVfnie.l  bv  tiie  quanilty  of  matter  neces-arv  to  l,e 
inlroiiueej  at  the  head  of  tlie  pa::."'.  A  I'lill  Ime,  as  a  riinninL;' 
lilh'.  liav  a  verv  elum^v  appearanee,  and  -hoii!:l,  if  po^sihlo,  he 
avoid. 'd.  'J'e.  a  <iK[:\  ;)a_r.\  two  h-a  Is  malie  the  U'^nal  --pa^'e  after 
th>'  lii-al:  to  a  <i:i'rh'  hivh-d  paL'''',  tiii'.-i^  h-ail-ora  I/m^'  Pi"iiii"r 
!vhi'e;  and  t  )  a  ■! ndile  joa.leil  pa^re.  a  Pica  white. 


TYPOGRAPHIA.  l];i 

It  has  long  been,  and  still  is  a  practice  ton  prevalent  among 
compositors,  to  drive  out  a  word  at  the  close  of  a  paragraph,  or 
even  to  divide  it,  in  order  to  reap  the  advantage  of  a  break  line. 
Part  of  a  word,  or  a  complete  word  in  a  break  line,  if  it  contain 
no  more  than  three  or  four  letters,  is  improper.  It  should  be 
the  business  of  the  proof-reader,  at  all  times,  to  notice  this 
encroachment.  The  last  line  of  a  paragraph  should  not  on  any 
account  begin  a  page,  neither  should  t!ie  first  line  of  a  paragrapli 
come  at  the  bottom  of  a  page,  if  the  woik  has  white  lines 
between  the  breaks.  To  obviate  which,  the  compositor  makes 
his  page  either  long  or  short,  as  most  convenient,  always  taking 
care  that  the  corresponding  pages  back,  by  Avhich  means  the 
ion^-  or  short  appearance  of  the  page  escapes  observation. 

If  the  work  is  very  open,  consisting  of  heads,  whites,  Sec.  the 
compositor  must  be  particularly  attentive  to  their  depth;  so  that 
though  the  white  may  be  composed  of  different  sized  cjuadrats, 
yet  that  their  ultimate  depth  shall  be  equal  to  the  regular  body  of 
the  type  the  work  is  done  in;  for  unless  care  is  taken  in  this 
particular,  the  register  of  the  work  must  be  incomplete.  The 
pressman  cannot  make  the  lines  back  if  the  compositor  is  not 
careful  in  making  up  his  matter. 

The  first  line  of  a  new  paragraph  is  indented  an  m  quadrat, 
of  whatever  sized  letter  the  Avork  may  be;  though  we  prefer  an 
m  and  an  n  in  small  measures,  and  two  or  even  three  m's  when 
the  measure  runs  very  long,  by  which  means  the  paragraph  is 
more  strongly  marked;  the  mere  indention  of  an  m  beiiior 
Fcarcclv  perceptible  in  a  long  line.  Authors  vary  materially  in 
ihe  mode  of  making  paragraphs;  some  carry  the  argument  of  a 
j)osition  lo  a  great  lengtli,  before  ihev  relieve  the  atte-ntidn  of  th'> 
reader:  while  others  break  oiT  at  almost  every  place  that  will 
admit  only  of  a  full  point.  But  in  this  case  we  follow  the 
auihor's  plan,  unless,  upon  particular  occasions,  it  may  Im' 
neci'ssary  to  multiplv  or  reduce  the  breaks  in  the  copv,  if  it  r;in 
lie  done  with  jiroprir-iy,  in  order  to  make  the  wurk  look  uniform. 
Aiitliors  should  always  make  the  beginning  of  a  new  jiaranrnpli 
('un^pi"uoiis  V)  i!k'  (■ompo':i!or,  bv  indentiiio'  i!u'  fir'-t  liiu-  ol'  it 
far  cnDUU'h  tn  (listin'r\i;-!i  it  rnjin  the  i)rfce.!ing  liii:',  in  case  it 
should  !,-  (liii;,'  ;•.;!. 


114  TYPOGRAPiriA. 

Many  hints,  in  addititm  lo  what  havo  already  been  dropped, 
relative  to  coniposin!,^  might  he  added  for  the  information  of 
learners,  yvcy^^  ^vr  not  persuaded  that  practice,  and  a  close 
attention  to  the  mode  of  doin^^  business  by  good  workmen,  will 
1)0  of  more  service  to  them  than  a  multiplicity  of  rules.  It  is 
^iie  duty  of  the  person  under  whose  tuition  an  apprentice  is 
placed,  to  di'<c!iargp  that  trust  with  fidelity.  The  youth's  future 
prosj)ects  in  li'i',  depend  in  a  great  measure  on  the  principles  on 
vvhicli  liis  lirst  instrtictions  are  formed;  aiul  it  is  the  duly  of 
eveiv  man  to  correct  thos(>  habits  in  youth  v.iiich  may  be  im- 
proper, Avhether  arising  from  carelessness  or  any  other  cause. 
When  a  vouth  makes  choice  of  a  profession,  and  is  aware  that 
his  future  supjjort  and  prospects  in  life  must  depend  on  a  cor- 
r<';'t  knowledge  (jf  that  profession,  he  slunild  he  an.xious  to  attain 
that  knn\vl((li;-e;  !)ut  to  withhold  it  from  him,  or  allow  the 
practice  of  improper  habits,  is.  in  his  preceptor,  a  neglect 
hiuhlv  repreheiisihle,  and  unjust. 

A  fti  r  the  bodv  of  the  volume  is  completed,  the  contents 
snnieiim^s  fell  i\v  next,  though  they  belong  more  properly  to 
the  licsfiiming  of  the  u'orlc :  and  for  this  reason  we  sliall  deC'-r 
spealdni;-  of  them  here,  but  introduce  them  in  their  proper  place, 
'i'lie  index  is  a-enerallv  ])laced  at  the  end  of  the  voIunH\,  and  set 
in  letier  two  siz(>s  less  than  that  of  the  worlc :  it  is  ah\'avs  bf^giin 
up;  II  an  uneven  page.  Running'  titles  mav  b(=  set  to  an  index, 
but  folios  are  seldom  ])Ut  to  them,  unless  it  is  to  recommend  the 
book  for  its  extraordinary  number  of  jiages;  f)r  as  an  imiex 
does  not  refer  to  its  own  matter  by  figures,  tliev  are  needless  in 
ibis  case.  T\\('  signatures,  however,  are  ahva\s  carried  on 
le'^iilarlv  to  the  ia<t  whole,  or  half  sheet  of  tiie  work. 

it  was  formerly  thr>  plan  to  set  tli(>  siilijeet  wold  of  eatdi 
ariiele  in  Itahc.  and  all  ilie  rest  in  IJoman,  indenting  all  the 
iiaiiJi  1-  an  m  ipiadiMl  that  malo'S  above  one  line,  ^\•ilat  is  techni- 
(■;i!iv  termed — lo  run  out  and  indent:  but  the  Italic  is  now  in  a 
efe;it  iiii  a-uie  exploded.  ii  being  atiended  \vii!i  extra  trouble, 
U'."]  lit  l!ie  -.anie  lime  destro\-s  the  uiiiii)rniil\-  of  the  paire. 

('are  should  be  t:iken  that  the  sulijeet  wools  are  ranired 
aiphab' f  I'.illv.  IIS  it  is  n,4  expt  i'|..d  ibat  the  compositor  will 
l!:;:-i''  s.    he-  ero^  i'  ai'i'  iw  ard -.  wiih.ut  !>■  ini'-  |):iid  f.r  il. 


TYPOGRAPIIIA.  115 

vVhere  figures  have  a  regular  succession,  a  comma  is  put 
ai'tcr  each  foho  ;  and  where  their  order  breal^s  ofT,  a  full  point 
is  used.  Thus,  for  example,  after  G,  1 ,  8,  9,  commas  are  put; 
and  after  12.  16.  19.  24.  full  points;  but  to  save  figures  and 
commas,  the  succession  of  the  former  is  noticed,  by  putting  a 
dash  between  the  first  and  last  figures,  thus,  4 — 8.  Again,  if 
an  article  has  been  collected  from  two  pages,  the  folio  of  the 
second  is  supplied  by  s^.  or  sequente ;  and  by  sqq.  or  seqiiienti- 
Ins,  Avhcn  an  article  is  touched  upon  in  succeeding  pages.  A 
full  point  is  not  put  after  the  last  figures,  because  it  is  thought 
that  their  standing  at  the  end  of  the  line  is  a  sufficient  stop. 
Neither  is  a  comma  or  a  full  point  placed  to  the  last  Avord  of  an 
article,  in  a  wide  measure  and  open  matter;  but  it  is  not  im- 
proper to  use  a  comma  at  the  end  of  every  article  in  narrow 
columns,  or  where  figures  are  put  after  the  matter,  instead  of 
running  them  to  the  end  of  the  line. 

At  the  conclusion  of  the  index,  the  volume  is  considered  as 
completed,  v/ith  the  exception  of  the  title,  preface,  &,c.  A  com- 
positor's first  consideration,  then,  is  in  what  manner  the  work 
has  ended,  what  number  of  pages  the  titles,  &c.,  will  make, 
and  whether  he  can  impose  them  in  such  a  form  as  to  save 
paper  and  presswork.  To  answer  this  purpose,  a  preface  may 
be  drove  out  or  got  in;  or  if  matter  is  wanting,  it  is  customary 
to  set  a  half  title. 

The  method  of  setting  or  displaying  a  title  is  governed 
entirely  by  t''ancy ;  and  in  this  country  the  style  of  late  years  is 
much  altered  for  the  bettiT,  as  a  comparison  between  the  title 
pages  of  the  last  and  present  century  fully  evince.  "VVe  concur 
in  the  assertion,  that  no  fixed  rules  can  be  laid  down  for  instruc- 
tion, because  it  depends  entirelv  u]ioii  tiie  taste  and  ingeniiitv 
of  tlie  compositor;  such  bcino;  the  prt'valf'iit  opinidn,  we  trust 
that  we  shidl  be  pardoned  for  obtruding  a  few  iiints,  which,  in 
our  judi^nK  nt,  mav  tend  to  assist  the  juvenih'  portion  of  the 
pr(jfi-S'^inn.  1st.  Ilavincr  diviiled  the  title  into  lines,  and  decided 
upnii  the  sized  type  most  suitable  fir  the  principal  one,  we 
beCfui  liy  ctaisposing  those  of  the  seeond  and  third  class,  l)otl;  in 
ascendin;^  and  descending  order.  2d.  We  avoid  having  two 
lines   of  equal   length   to   folio v,-,  or  come   in  C(jntnct  willi  (-ach 


116  TYI'OGilAPIIIA. 

other.  3d.  C'iitch  word<  shuuKl  bo  set  on  a  very  reduced  scale, 
and  proportionea  according  tu  I'he  strenatli  of  the  preceding  and 
succeeding  lines;  becaus'-,  v/iien  catch  wurds  are  bold,  they 
take  from  the  a'cncral  etTcut  of  the  title,  it  being  impossible  that 
it  can  appear  to  advantage  if  the  striking  lines,  Avhich  ought  to 
stand  forward,  are  too  much  crowded  by  the  full  appearance  of 
their  neighbors'  faces.  4th.  This  knowledge  will  be  best  attained 
by  a  close  attention  to  those  title  pages  which  are  considered, 
by  those  who  are  judges,  to  be  displayed  with  true  taste  and 
judgment 

Authors  should  endeavor  to  make   their  title  pages  as  short 
and  concise  as  possible;  for  a  crovrded   title   never  can  be  dis 
played  with  elegance  or  taste. 

The  dedication  generally  follows  the  title,  and  seldom  exceeds 
one  page.  It  should  be  set  in  capitals  and  small  capitals,  dis 
played  in  the  manner  of  a  title;  but  where  it  extends  to  r 
cun.'-iderable  lenirth,  it  is  generally  set  in  a  letter  two  sizes  large 
than  the  work.  There  is  neither  folio  nor  direction  line  requirer" 
to  it,  where  it  dors  not  exceed  a  page;  but  if  it  happens  to  he 
the  third  page  of  the  sheet,  tlie  signature  must  be  inserted.  The 
French  Manual  gives  verv  particular  directions  upon  tins  head  ; 
'■'When  a  book  is  divided  by  several  dilb'rent  titles,  we  must 
give  to  each  division  its  suitable  type.  Thus,  if  we  set  the 
word  'Part'  in  Pica,  we  sliould  set  'Cha[)ter'  in  Long  Primir. 
'Article'  in  riourireoi^,  and  'Section'  in  Ih-evi'T.'" — In  English 
\^-e.rks  tlii-  d'jes  not  otlen  occur,  but  the  [irinciple'  laid  dovrn  is 
very  proper.  ••  In  Epistles  Dedicatorv,  the  name  of  the  person 
tu  v.-lium  the  work  is  dedicated.  ;-heuld  alwav.'-  be'  in  cajhtals. 
and  the  term-;.  Your  ver\-  liumMe  and  ver\'  ob"dient,  ki'.  siieuld 
be  set  in  a  small'-r  ivpe.  .-jiid  ilie  siirnalure,  or  nam"  uf  the 
nutiior,  in  capinil-  et'  a  l-<s  f.  .urit  ihan  that  in  wiijeh  the  liame 
(jf  the  [.'erseiiiiLfe  v>  whom  dedi'Tite'l.  ha-  he.-t)   .el." 

Eeruierlv.  I'ae  jirelhee  was  unlfernilv  S'  t  in  Ilahe  ;  at  jire«ent 
tiji-  i''.:r,\  \<  -.  Mein  ad-pt'd.  :'.nd  lleman  i-  u- d  in  it-  sVad.  ol 
one  M/e  ]:irj:'  r  than  the  body  ef  ti.e  weik.  d'hr-  ruriiiing  tith-- 
t'j  the  jaeihee  i-  e^jiiiiiiwuly  :-'t  iu  t'ae  .-.'ime  maiuirr  a-  iu'j-e  ui 
ihi-  liedv  of  t::"W^.rk.  a:  ilie  -ame  time  tiie  Jidies  are-  jiut  in 
Jii'm-rai   leit-r<.   1  e^r;,;rii.';o  v.-ith   ii   ■•verthe  sefentl    page^  a.ia 


TYPOGRAPIIIA.  117 

coutiiiuiiig  the  rest  in  the  usual  manner.  If  the  work  itself  was 
printed  with  folios  only,  tiien  tlie  preface  should  have  them 
also  in  the  middle  of  the  line. 

The  title,  dedication,  preface,  introduction,  &,c.,  form  what  is 
called  the  title  sheet,  viz.  signature  a,  which  makes  the  printer's 
alphabet,  consisting  of  twenty-three  letters,*  complete;  provid(;d 
that  the  body  of  the  work  begins  with  b.  To  ascertain  more 
readily  how  many  slieets  a  book  consists  of,  more  than  are 
marked  witii  signatures  in  capitals  or  small  capitals,  a  lower 
case  Roman  a  is  put  to  the  first  sheet,  and  thus  carried  on  till 
the  beginning  of  the  body  of  the  work. 

What  has  been  observed  concerning  prefaces,  relates  equally 
to  introductions,  drawn  up  and  intended  to  elucidate  their 
respective  works. 

The  contents  follow  the  preflice  or  introduction,  and  are 
either  set  in  Roman  or  Italic,  generally  two  sizes  smaller  than 
the  body  of  the  work;  the  first  line  of  each  summary  full,  and 
the  rest  indented  an  m  quadrat,  with  the  referring  figures  justi- 
fied at  the  ends  of  the  respective  lines. 

The  errata  are  put  immediately  before  the  body  of  the  work, 
or  at  the  end  of  it,  and  should  consist  only  of  such  corrections 
as  arc  indispeiisahbj  necessary,  without  noticing  any  defects  in 
the  punctuation,  unless  where  the  sense  is  perverted. 

It  is  most  devoutly  to  be  wished,  that  works  could  issue  from 
the  press  perfectly  free  from  errors,  which  would  more  likely 
be  the  case  were  authors  to  endeavor  to  render  their  copy  more 
legible,  b'Ton;  they  place  it  into  the  hands  of  the  printer.  It  can 
hardly  b^  expected  that  the  corrector,  under  whose  inspection 
such  a  variety  of  subjects  are  continually  passing,  should  be 
able  to  enter  thoroughly  into  every  one  of  them,  and  to  guess  so 
nicely  at  the  author's  meaning  when  the  copy  is  obscure,  and 
unable  to  afford  him  any  assistance:  besides  every  forni  is  ex- 
posed to  accidents  which  can  seldom  be  detected  as  if  pas'^es 
through  the  hands  of  the  print'.'r;  so  that  every  additional  jjroof 
may  h  ■  produetive  of  fresh  error. 


®  Tt 

•\v:i.- 

!'"nniM 

■Iv  t!i,' 

(■U>1 

l-m   t.' 

1  111 

Mil     \ 

II.^  l-t- 

.>rs  J.  V,  nil 

:1  W.  in  U:. 

li,-t    nf 

■■■  i  %  1 1 

1  tUl'i'.-. 

iSur 

the 

•rreii! 

(-V 

v-  iin 

"lli'Mlr 

1'    afi'Mi'liiiir 

liii>   u-o   1.!' 

tu.Mii;, 

!'■'  1 ' '  r- 

-  h.-i-  1- 

•"■I- en 

tly  in. 

iuv 

IMI     ,    ■ 

'  V  •  ri!  1  1 

•  i'  DUi'  liir.:c5 

1    eaai.li.h.. 

ii.i  will  .- 

1  •  1  1 1  n 

^i:  ill  ■ 

K:u;- 

J  .-, 

Illy, 

CHAPTER   V. 

IMPOSIXG. 

Havi.ng  suflicienily  treated,  in  the  preceding  chapter,  upon  ilie 
principal  subjects  connected  with  the  department  of  composing, 
it  next  becomes  our  duty  not  only  to  lay  schemes  of  the  various 
impositions  before  our  readers,  but  also  to  endeavor  to  give  a 
general  outline  f  )r  the  iuipo>ition  of  whatever  odd  matter  there 
may  be  at  the  conclusion  of  a  work;  and  likev/ise  to  explain,  in 
as  clear  a  manner  as  possible,  every  point  connected  with  this 
important  branch  of  the  art. 

This  article  not  only  comprehends  a  knowledge  of  placing  the 
p.ages  so  that  tliey  may  regularly  follow  each  other  after  they 
are  printed  olT,  and  the  sheet  folded  tip,  but  also  the  mode 
of  dr<  .-sing  chases,  and  the  manner  of  making  the  proper 
mara^in. 

AV(;  will  suppose  that  a  compositor  has  got  up  as  manv  pages 
as  are  vi'fjuiri-d  lor  a  whole  sheet,  or  such  portions  of  a  sh'-et. 
of  whatever  siz<';  he  I'egins  to  lay  them  upon  the  iiiipo>ing 
slmie,  placing  the  first  page  with  the  signature  td  tin-  Iftt  hand 
facing  him,  accordin:,''  to  the  following  schemes,  \vliii'h.  it  is 
li(iped,  wiU  be  iiiiind  lo  contain  every  n'''ce-sary  impo^iiion ; 
liif'V  con>i'.t  of  I'olios,  quartos,  octavos,  tu'elves,  sixtecns. 
f  ighteen-,  twf-niies,  Iwcnty-fours,  thirtv-twos,  ilurty-sixts, 
forums,  fortv-ein-hts,  sixtv-f  iur«.  >-<">venty-t\\'os.  ninc-ty-sixi's.  and 
OIK'  Jiundrcd  and  twenty-eiffhis.  "W'e  have  nl-^o  introduced 
seheuies  I'or  iiupo.^ing  from  tli'>  r<-ntre,  by  v,-iiicli  m<'ans  the 
bkmk  or  open  pa:.:es  mav  l;e  ihro\\'n  in  the  c/ntre  of  the  form, 
loavinLf  the  sohil  |iac'S  t-n  the  outsido  to  act  as  b-arf-rs  for  the 
roiio)-..  as  wojl  a<  for  the  b'tt'T  nirulatioii  of  the  impression. 

Scli.ii;.'-  r,f  vari-'U'^  '-tii'-r  iio-gulur  siz'.s  ini^'ht  also  lie  intru- 
dur-ci],  but  tii"v  cmuM  an-v.-cr  no  oti.'r  piir|i'''-o  tlian  that  of 
pi'  :i-;iii:  til''  fuioy,  ]i\-  (■viiibi'iii:,:  tl,''  po-^ibijity  of  f^^Iduig  a 
ihici  of  [i.iper  iiito  so  r.'Kinv  'bif  r^at  i-rni--. 


TYPOGRAPHIA U9 

Abstract  Title  Deeds  of  Estates. 


1 

I  Abstract     Title 

j  Deeds  of  Estates  are 

j  printed   with   blanks 

I  at  the  back,  with  all 

I  the  margin  on  the  left 

i  side,    and   on   single 

I  leaves,     wliich     arc 

stitched  together    at 

j  the  corner. 

I  This   method  of 

inipoiiing  the  form  is 

to    save    press-work 

and  the  compositor's 

charge. 


ae=»«»^^>9« 


A  Single  Sheet  of  Folio. 


Form. 


Outer 


Form.. 


11 


120 


TYPOGRAPHIA. 


Tivo  Sheets  of  Folio,  Quired*  or  lying  one  in  anothei 
Outer  Form  of  the  Outer  Sheet. 


1 


Outer  Form  of  the  Inner  Sheet 
f) 


♦  Iniposiiif;  in  qiiirfs  may  be  carried  to  any  extent,  by  observinc 
the  following  rule: — first,  ascertain  th(>  number  of  pacjcs,  then  divide 
them  into  so  many  pheet^'  of  foHo,  and  commence  layintr  (iown  th'-^ 
two  first  and  two  last,  wliich  form  the  first  sheet,  and  so  on  In  the 
('cntre  one,  always  rcmrmliiTin:;  that  the  odd  pai;es  stand  on  the  U'ft, 
and  the  t'vcn  on  the  nifht ;  ttu?  folios  of  each  two  forming  one  inov<' 
than  the  number  of  paires  in  the  work:  for  example,  let  us  suppose 
the  work  to  consist  of  thirty-six  paj^es.  which  is  nine  sheets  of  folio, 
then  tluy  sliould  be  laid  down  according  to  the  scheme  at  tiic  foot 
oi  the  opp.siie  pai^e. 


TYPOGRAPIIIA    ....    121 

Tiro  Shrels  of  Folio,    Quired,  or  lying  one  in  another. 
Inner  Form  of  the  Outer  Sheet. 


Inner  Form  of  the  Inner  Sheet. 


1     36    35      2,  \st  i       3    34    33      4,  2d 

7    30    29      8,  ith  !       9    23    27     10,  5th 
13    24    23     14, 7ih  j     15    22    21     16,  Sth 


5  32  31  6  3d 
11  26  25  12  6lh 
17     20     19     13  9tk 


The  furniture  must  be  reduced  in  the  backs  of  llic  inner  sheets,  to 
allow  for  stitching. 


122   ....    TYPOGRAPHIA. 


A  Shed  of  Common  Quarto. 


Outer 


Form. 


A  Sheet  of  Quarto,   the  Broad   Way,   commonly  nsed 
in   Works  of  Music. 


Form. 
o 


1 


TYPOGRAnriA     .    .    .     123 


A  Shed  of  Common,  Quarto. 


\       I  liner 


Form. 


■'*'^V*^'f^(^)'«i«f<«*VVV<V. 


A   Sheet  of  Quarto,   the  Broad   Way,  commonly  used 
in    Works  of  Music. 


Inner 
9 


Form. 


, . 


n: 


124   .    .    .    .  TYPOGRAPHIA. 


Tu-0  Half  Sheets  of  Quarto,  worked  together. 

r 


Outer 


Form.     \ 


\         S* 


4         i 


•'*****''(^^  ^^y*^*^f^f—  ■ 


Haifa   Sheet  of  Common    Quarto, 


TYPOGRAPHIA.    .    .     .    125 


Tico  Half  Sheets  of  Quarto,  icorked  together. 


Iinu 


[__j- 


z 

Form. 


Half  a  Sheet  of  Quarto,  ike  Broad  Waj/, 


126  .    .    .    .TYPOGRAPHIA 


Outer  FoT/n  of  a  Sheet  of  Common  Octavo. 


13 


4 

', 

! 
1 

! 

! 

_  J 

Outer  Form  of  a  Sheet  of  Octavo,  the  Broad   Wai/. 


i      ! 


r" 


TVPOGRAPHIA     .    .    .    127 


Inner  Form  of  a  Sheet  of  Common  Octavo. 


01 


a2 


Inner  Form  of  a  Sheet  of  Octavo,  the  Broad  Way. 


^T  :        \^ 


CO  <■ 


Ir-- 


[■^8 


TYPOGRAPHIA, 


7Vo  Huff  Sl/eefs  of  Common   Octavo  worked  togethti 
i 


r' 


Haifa  S/ie'H  of  Common   Ocfavo. 


i 


S          »         5      1 
\ 1      L 


TYPOGRAPHIA.,    .    .    .    129 


=1 


Imicr  Form  of  Tico  Half  Sheets  of  Octavo. 


Two  Quarters  of  a  Sheet   of  Octavo,  worked    together. 


p^ 


:.U-;i 


i 

130   •    •    •    TVPOGRAPHIA. 

— 

Shed  of  Octavo,   12  of  the    Work,  and  4  other  Matter. 

! 

8v 

S 

8 

c 

™™.     — .™ J 

p,                     P 

1 

1 

1-2 

1        ^ 

4 

1 

A 



1 

Older  Form  of  a  Sheel  of  Octavo,  of  Hebrew    Work. 

«c™" 

1 

ol 

6 

8 


,  „ ,,, 

- 

..,.-, ,.,,           „ j 

^     , 

4 

j 

13 

16 

1 

!          1 
1    ««    1 

1 

«^ 

ii^ 

__ 

=^ 

TYPOGRAPHIA,     .     .     .     131 


Lmer  Form  of  Octavo,  12  of  the  Work,  and  4  other  Matter. 


9 

I 

V 

z 

.      ^'      „. 

!        3 
1 

a2 

10       1 
\ 

{ 

11 

2 

Iimer  Form  of  a  Sheet  of  Octavo,  of  Hebrew    Work. 


>^L 


ni 


15 


u 


14 


Dt^ 


J      L 


13"1   .     .    .     TVPOGRAPHIA 

Outer  Form  of  a  Shed  of  Octavo,  Lnposed  from  the  Centre. 


I     I 


I      I  ^ 


r" 


— j 


A  Half  Sh-'ct  if  Octavo.   Imposed  fro'ii  the   Centre. 


\    \ 


'Inner  Form  of  a  Sheet  of  Octavo,  Imposed  from  the  Centre. 


TYPOGRAPHIA.     .     .     .    133 


i 

"  i 

i    i 
L       j    1 

9 

,„    

1 
11 

. . 





1    i'"-    j 

3 

1           ''            \ 

i 

1     , 

1 

A 

1 

Tico  Qtiariers  of  a  Sheet  of  Octavo,  Imposed  frovi  the  Centre 


v:~ 


134     .    .     .     TYPOGRAPHIA, 


-  S    CO 


I   \  ' 


§ 


cr>  cc   I       7^ 


1      i 


!  ^^ 


*3 


,      r 


-I       i- 


TYPOGRAPHIA,    .    .    .    135 


(^  S 


i<j  i         CO 


';:^      ^^ 


136   •    .    •    TYPOGRAI'HIA. 


CC 


"n  s 


\ 


i       X 


31  r 


— )  (— 

l       ! 


TYPOGRAPHIA.    .    .    .    137 


1 

1  ^ 

1 

i 

§= 

^ 


iC  O 


"7\  |2  -  1 

i     I ™w^ 

n  I 


iC  (      i  CO 


138    .    .    .     TYPOGRAPHIA. 


I 


OJ  \  Ol 


^ 


<     I        Oq 


-    ^ 


.J         CO  j 


^ 


O 


i-iij 


TYPOGRAFHIA,    .    .    .     139 


i 

i 

1  ^'^ 

! 

o 

,       ...,.„, 

1   ^ 

OC' 

( 

'^ 

i — ^,..„ 

s 

u 

i 

1- 

.^ 


50 


S 

s 


!        i 

i        1 


I 


i      S 

!         i 


C5 


140    ■    •    .     1VI>0GKA1'HIA 

Older  Firrm  of  a  Sheet  of  Long   Twelces 
i 


"n 


J 
s 

! 

Onr   tliiril,   nr   8   panes   (f  n    Sheet   of  Tirelref. 
To  be  imposed  as  a  Slip,  or  in  the    OfV-cross. 


A       !  i  Outer  \  \  Form.  ; 


TYPOGRAPHIA 


141 


Inner  Form  of  a  Sheet  of  Long   Twelve!^. 


\ 


Ojie   third,  or  8  pages  of  a  Sheet  of  Twelves. 
To  be  imposed  as  a  Slip,  or  in  the    Off-cross. 


\        \ 


Inner 


142    ■    •    •    TYPOGRAPHIA.  ^ 


\       I 


—  i      \  ^ 


ic 


JO    j        \    CO 

s      t 


I  ! 


I   I    \ 


TVFOGRAPIIIA. 


143 


1                                GO    1              O                               1 

1                           to   1        1   CO 

&5 


"5   ^ 


On 


>            1 ^ 

S3 

1 

7? 



'?      $ 


{  \ 


1  ^        " 

J  .^ 


1.: 


114     •     •     •     i'VPOGRAnilA, 


i  i 


i- 


^  :  S  (  -  .' 


i  ! 


^<1 


i  i 


■(         ! 


i"Ti 


H 


TYPOGRAPHIA 


145 


A  Half  Sheet  of  Eighteen^' 
Containina;  16  pages. 


s  ?y 


T-      i  i     OT 


CI 


i. 


!     G    i        \    f 


\    M 


A  Half  Shed  of  EightecnsA 


ev- 


il 


I     01     ;    I     I       G     1  !      ^  i     ^f 


1   i 


;  CI 


?i 


II  i 


*  The  white  paper  of  this  half  sheet  beins  worked  ofT]  the  centre 
paires  to  be  transposed;  viz.  seven  and  ten  in  the  room  of  tirrht  and 
nine,  and  pages  eight  and  nine  in  the  jilace  of  seven  and  ten  :  \s  iien 
this  i~  done  your  iiriiiositiem  will  be  true. 

+  Tlir  white  j-iapcr  of  liiis  form  beinir  now  worked  ofli  tlie  fiur 

loweriuos'.  pai!es  ui  tlie  r-.'Utre   must  be  transposed;  viz.   patri.s  tii_dit 

I  and  eleven  in  the  Tfjoni   of  seven  am]  twelve,  and  paces  seven   and 

1  twelve  in  tlie  plaee  of  eiL'iit  and  eluveir  tiiis  lieiiiii  done,  the  sheet 

I  will  then  folil  un  riLht. 


IG 


TVPOURAPIIIA. 


Older  Form  of  a.  Sheet  of  Elghttens,  to  be  folded  together. 


a3 


29    i 


f 


85 


i     1    j        j    36  [        j    25  I 


t     8 


.7  i  20 


1    -^'  \ 
\    6    t 


91 


12  13  i  2-i 


.^. 


Outer  Form  of  a  Sheet  of  Eightccns,  with  One  Signature. 


I           i 

I 
1 

I    '      '. 

I      ! 
Ill     I  or- 


tie-    f         I   (■ 


i         I 


1 

!     [y 

j--"i        |- 

;     ^-O      \              I 

?- — ^«. — I 

rn 

1  "^  1 

r"" 

; ( 

;    11  : 
!  I 


r 

Inner 

TYPOGKAIMIIA.     .     . 

.    147 

d  log  ether. 

Ivy /•;/(.  of  CI  Sheel  of  Ei 

ghiee/is 

(o  hefohh 

,, 



,~^^^^^^^„ 

, „, 

^^ 

\  i'.» ' 

1  ^^  1    1  M 

1    30 

1  :-u  ; 

6     1 

\ 

1    i    U-i  j 

1 

(          i 

1     i 

j 

I 

1    '  ^    i 

> 

j 

t-v 

\  ^^ 

1  n  1     j  01  1 

1    Zo 

iJl, 

c  I    ! 

I  23" 

1 

1       1'      1 
1                  \ 

1   2^^^ 
1 

I 

1    ™ 
i   0.) 

\ 

; 

Litter 

Fr^r/;i  of  a  Sheet  of  Ei 

S'htcens. 

u-ith  One 

Si 

giwture. 

i 

i    ""'*~ 

i    M     i 

! 

J 

j 

i 

;   ^^ 

i   OM       1   ol   ; 

1    GT- 

1    6?: 

j3_{  : 

i 

! 

\                  \ 

1 

\ 

tv  ;  1 

i 

I  91 

\  \z- 

1"    i 

1  ^s 

\  OS 

■   ; 

'  \  1 

I 

i 

1    ( 

\    ITT 

S               ! 

!      0     ; 

jir 

1     [IT 

li 
1 

i 

1              1                  i              1      ^'^     i 

; 

:          ; 

1 

1?,^ 


148    .    .    .     IVPOOKAPHIA. 

Older  Form  of  a  Sheet  of  Eighttens,  tvit/iTtuo  Signatures. 


~i  I  J 


SI 


\  ei  \     \  91 


Oo 


1     1    i        i   24  1        1   21  j 


G    !        19 


2 

1 
^J 

6    \ 

1  i  12 


Outer  Form  of  a  Sheet  of  Highteens,  with  Three  Signatures 


I  ^  J        Ij^J        I  ^^ 


1   1-i 


T- 


1   ;       1- 


J 


171 


V.    \ 


!  !         !    0 


!  )  !  I 


TYPOGRAPIUA    .     .    .     119 


Inner  Form  of  a  Sheet  of  Eighieens,  icithTwo  Signatures. 


\    5     \        \  01 


01   \        \ 


9    \ 


'111        12    1        j     3    i 
a2 


ST   1 
f ^ 


tl 


TI 


j    61   i        j   81 


22  23 


Inner  Form  of  a  Sheet  of  Elghtcens,  with  Three  Signatures 


\    8     i 


01 


H  ^2 


01 


I        I 


11   \ 


I  S« 


8 


111    ["2  I 


!  „J    !-. 


TYPOGKAPHIA. 


Half  Sheet  of  I^igh(ce/is,  tcUhont    Tmnsj^osiiio; 


M       ^ 


i      ;  B^ 


9  1      \  i   \     \  s]  \    \  i\  \     Is! 


6  i   91 


I     1     j        I    12  I        I    13  I 

i      A      I  i      B 


i  £i 


01 


14  111        (2 


Half  Shed  of  Tu'endcs,  rcith  Tiro  Signature.^. 


I   -     -I  \^ 


rx'      i 


~  i    I    ■'  i 


jii  "To  [irint  a  Inlf  shei-t  nf  ciixhtocns  wiihout  traii:=position.  lias  lont;" 
'i'"-.'ri  cons^iicrcii  as  ;;npo-;?:!)lc  ;  at  last  a  wisLacro  inarir  this  (iiseovi-rv  ; 
j'l  ;  is  li.T:-  Lnv.'ii  with  a  view  > if  sh.nviiiLr  its  ahsiirtiit v  !  Arothn^ic  sini;lt' 
r^.-ivrs   pi-."!',  rabl-j    In   thr  traiisposiiioii  of  li.ur  {lagcs  ?  '     \ 


TYPOGRAPHIA 


151 


Inner  Form  of  a  Sheet  of  Twenlies. 


f-  CO 


CO  I 


—  —I     o 


?1 


.^^ 


Outer  Form  of  a  Sheet  of  Ticenties. 


Z]U 


>    ^  n  -^i 


i\-  ;ti 


1.72 


vPu(;KA]'inA. 


A  Half  Sheet  of  Tivcnty fours. 


01   \ 


rn  ; 


rl 


i 
H   I 


M      H      ;  h^^M       ;      H      M      M  t-v 


i  1 


^  i 


O'i/cr  Form  of  a   S/iecl  of  Tirivnfy-fonra.  icltJi  Two  Sigs. 


\         \''/^'^  \ 


•a  f 


j     !  j     ! 


!        'i 

i    !i 


TYPOGRAPHIA    .     .    .    J  53 


^4   Half  Sheet  of  Twenty-fours,  the  Slxtceii'icay. 


7-    \ 


\        7'. 


I   gV    j    i 


is  Hoi 


6 


i  7  H  Is  n  lu  I 

U^  i  i   I  i   j 


1  ol  i  13  j  fTTl 


8  n  ii     i  n?^ 


w     'Ml 


1  i  r^4  n  21 


4  n  15  n  10 


Iiin/r  Form  of  a  Sheet  of  Tv: eat y fours,  with  Two  Sigs. 


f£.  1  \  68  I  I  SS 


op 


5         i  ! 
!  OR   I  \?.f 


i  ?-^  h  IS 


ni 


9    h  61   M  81   i  I   Z    ! 


27  \  \  4G  i  ;  47  i  ;  20  \ 


I    3   i  i  22  ;  ;  23  i  ;    2 


154    .    ■     .     TVPOGKAPHIA. 


A  Hdlf  Sheet  of  long   Twenty -fours. 


LlJ  LiLJ  LilL. 


3 

a2 


14 


{' 


LiiJ 


r-1 


\  L    1  I  81  h  8?; 


'j   6    n  19 


i  \ 


i   c 


OS 


I?, 


1    jl  1*3  Ij    9   I 
A  i      a5  I 


Tfi  r^T] 


A  Half  Sheet  of  Tive/ityfoiirs,  with  Two  Signatures. 


?.Z 


I  < 

■1  h  ^ 


UeJ  LlLJ  LM 


zi 


9  nil 


■'"1 


01 


fTl  \  1<>  1  i  13  i  i   4 


3    j  j  14  n  15  \  j    2 


TVPOGIIAPIIIA     .     .     .     155 


A  Half  Sheet  of  Ttventv-foars,  'without   Cutting. 


a3 


2.) 


17  M    8 


!  f    i  ''\ 


j    7    j  j  ...^  <  ! 

<  a4  n 


Of 


•'    \\7-7. 


r  1  j  j  :ii  j  1 1:^  n  i--^ 


a6 


/I  //«//  S7?cc/  of  Thirty-twos. 


Sv 


r    "1  J      < 

I      M     i 

I    \'    n  (io  h  86  !  ;    9 


i:; 


id   !    1    -il 


i  OT 


'  \  n 


17-  \ 


I    9   H  i?'-   1  t  08 


s 

i    A(i 


>-  n  19  i 


II 


W-L   \ 


8  i 


ni 


a1  * 


^        J  V 


1  r^'H  r  2 


11 


15G    .    ■    .    TV  POOR  AT  III. \. 


Older  Form  of  a  Sheet  of  Thirly-iwos. 


J    }  (    ! 


LlJ  LIIL]  UjllJ  ISi: 


j    13  i      32  j  j  4.3     j   •'.() 


I    fl  [  oTl  r33^| 
i       if 


;  s'^-  n  is  n  09  M  '-• 


i  ^1  i  I  44  n  r>3 


(  ! 


in  n  57  n  H 


(         !  ;         (  ! 


I   Outer  Form  of  a  Sheet  of  Thirty-iiros,  vd}i   Four  Sigs. 


()'-■ 


■'•'  I 


;  5^  i  i  •■'H  i  1  54 


I  '-1  II         h 


MIC  I  I  (.!•  I  \  <i  \  Ij;;: 


T  j  i  itM  i  13  n  4   [ 


J:L1  LxL\  .S!Ll 

\'w\  iWi  riTi 

til 

1 

I 


TVJ'OGRAFHIA    .     .    .     ]  LZ 

Imier  Form  of  a  Sh'cet  of  T/iirl//-ticos. 
9    i  i  C)'-  \  \  9Q  \  \  iz\ 


11 

aG 


foil  1  4^  M   ^ 


ioi 


!    !  <    ! 


r-f  I  I  F:r.  i 


OR    1  !  £?.   I 

1      6^   ; 

~9  !       Si 

Til  RTl 

11   i 

I    ^-' 

1   'i^J  I 

<y  i 


81  i  I  II 


i  ni'  h  ^i 


i        i  i 
I  a4  I  j 


o9  M  '^t)  I  ['  1 31  n  o4 
I      Ml      H 


63 


Inner  Form  of  a  Sheet  of  Thirfi/-lu-os,  irlih   Four  S/qs 

M 


i  ( 


i  39  i  ;  A■^ 


\  if  i  L_9H  [CRJ  I  T^L'J  MO  !  If 9 


s   LI 


E       ! 

5      ;     1! 


!    G(J 


5u  ! 


I  ""  h 


LJ1„J  Ul,J  LLllJ 
l"3"]  fiTl  fiS'] 


IV   j 

I 


153    .     .     .     TYPOGRAPHIC. 


A   Half  Sheet  of  Tidri-y-ticos,  with    Two  Signature 


\^\  !  i  IS  ! 


6«  i 

GI    5      1     !07 


6^  I  !  oe  i 


2b  I  i  27  I  i  ;^2  j 


1^4  I  ^ i 


oi  n  ? 


21    j 
k3| 


2S  ;  ;  25  i  i  24 


f     '.  ! 


0 


11  Hoi  i 


i  1    n  it3  H  1^  j  I  -i  1 
1  i       I 


<     A 


I  I       \  \ 


I    3    n  14  H  15  j  1    2    j 


.4  //'7//  .SV/''':/  of  Thirtj/-tiros.  20  /y// -f.';  r,/^  the    Worl\ 
4  ;9f/i't'.?  r/  Title,  ^-c.   nnd  S  r^/  oth>^'r  Matter. 


-[  n  f^I  M   ^~ 


MM 


1 

\  1  ■^' 

i  3tl 

tit  i 

5i    1 

"It  1 ' 

O*     ! 

2*    i 

a 

Lill 

\ 

! 

— J 

i 

r 

i 

; ; 

TT] 

1 

! 

i 

-^'    i 

L„r 

'.    r, 

LULi 

<""       ! 

.SiA 

JXJ 

„illJ 

i     i 

-    !i 


1   i  i  ion  l:i ;  ;   4 


114  j  I  i: 


TVPOGRAFHIA    .    .    .    159 


.'I  Half  Sheet  of  Thirty-sixes. 


'A  b; 


j:i  i  ■; I 


— ;    Uik 


ilE 


-.!      \'.0       "< 


> 


.<^«= 


J    Hfilf  Skrpt  nf  Thirlij-sices,   without   Cvtiing. 


|£j  P" 


i  i> 


:j  ■  i 1  \l 


'^i  \->- 


-ri    i-.     '^M 


":i 


:i  if. 


IGO 


TYFOGRAFHIA. 


A  Half  Sheet  of  Thirty-sixes,  with   Two  Signatures. 


>    i-    r^j 


1  r~ 


tc     |o         1    ht' 

j         >^j    1'^     <|    p     %\ 

.y.i              o     1^0     "< 

-<!    r 


I—    r-^ 


7!       M        i 


A   llaf  Sheet  of  Forties. 


LiiLJ  lYlI  Lnii  UlJ 
'~T1  r~^o"j  jlIT]  fg"! 


":T^1  nZ)l  r'R"; 
if 


u   1  1 


>^I  11  ;^?^  i  ;  ?^7^      GI 


1  \\'T\ 

^^  \  \ 


(1  i 


i  a: 


hi  h  .!?^  11 0?; !  i CT  i 


ill  I  [Tib  I  I  -Ti  j  j~ ](j 


["iTf"]  r~;  i  fT 


of<   ;  oi> 


!    A       ; 


A-i     ! 


L4  Quarlcr  Sheet  of  Foii>/-eigh!s,  iv'ilh   Two  Signature^' 


TYPOORArillA    . 


161 


{  8  \  Laj  izu  ijj\ 

j"~n  ri6"i  rnri  tti 


^r    f 


;  ii-  ?  Mr-  n  t6  n  zi 


t'V 


Liu  LilJ  uiU  LlJ 

"■^'  nn  i  li 


A  Half  Sheei  of  Forti/-eighis,  nnth   Ttco  Signatures. 


?v  \ 


lJ  LsLi  liiLl  LLJ 

fTi  fisi  rirrj  r"6~j 

,   i    i  is  i     !  ! 

,\6 


aI   1 


11  I  I    I4j|l. 


!    ! 


W         3;) 


34 


i  ?•!  1      !^1    \ 

01 

1 

H     M  h 

! '  1  ^  n  n  n  n-  i  j  o 


h    I        -  I 
.ill!  Ul.*  LiiJ  iJi'^.-J 


■'J 


,.;  VT'^i  r™Ti  f-in  ^r-x  \ 


LSHJ  LlLJ  LlLi  L'-U 
[■"2T|  rw\  \\-r\  r'"^"i 


L^ 


ir^     .     .     .     TVI'OCKArillA. 


.-l   Quri'-lrr  Sheet  of  Fortij-dghts,   xrithovl   Cidtiiiq 


\         \ 


a1 


(  !    ! 


!     I'J 


f  I  f  ;  K'  I 


!;  |^j\_^ 


1  I      ! 

I 

A  '"i    ; 


14 


.•I        lIlW    Sh"-I      of     f,, /■/'/-■■  J  L'- III'. <.       ?.'■■"//,        Thrre      S:n-7,r;/, 


{       'I 


(     ! 


'Jl- 


•f   ■■  \  !:': 


11  nil  n 


'••     '     ■     il      !     ' 

! 

;    ;  i 


•-^1   i 


n       I  ^ 


'■■     Vi'    '.  '    •  ^    ; 


TYPOGRAPHIA 


163 


.-1    Common   Quarter  Sheet  of  Forty-eights. 


\         \  ! 


1     I 


\    h]J  Uu  Un\  ijA 


LsJ  i jjJ  Li}!:-]  Ll,J 

[~Ti  fji"]  nrri  i"in  • 


!  01   !  U'T   n  fT   1!   IT 


.IlJ  [eij  bij  LiJ 

"T"i  r"2j]  iTsi  nr~i 


i2 


(       ..         i    ! 


c-^od 


.-I   Quarter  Sheet  of  Sixty-fours,  tvitli   Two  SigJiatvres 


^\\\  T8  h  OR  i  i  ni  1 


\-^\ 

pirr 

[27 

i  '^'^  1 

ijli: 

! ^^^ 

i 

J 

1 

1 

1 

i 

1  S'^'  1 

i  ^^ 

!   r, 

i^i 

j    o   i 

06  (  1  (^o  (  !  ?f;  h  IT  ! 


I  21]  !  28  n  25  I  j  -^4  I 


F,0    ! 


i^n  1^ 


5   0  1  i  T  n  1  0  [  ! 


M     ,    i 


M  -H 

i  a2 

(Til 

!                 j 

"Fn'] 

^   ! i 

■- ^ 

™„ — i 

2     i 


104     •     •     ■     TYPOGRAPIIIA. 


.-I   Chill  :iij,L   Qud'-tcr  Sheet  of  Sixty-fours. 


w  r 


i  i      n  K^" ! 


\    .l\\<^-\\<7. 


13  I  r  -ij  i  f  -iPi  \  \T]     !     j  1 1  ;  !  -:>  j  ML»  n  14  I 


\       I 


!  i 

! ! 


I    I 


i  ! 


UiLl  i™LLi  LIIiJ  \JUl 


I    A  !  I 


;i.j 


LllLJ  UlJ  LilJ  [jiLJ 
[~T"j  1"^  pTTj  fTl 


.^» 


j   .1   Quarler  Skcrl  ff  Sir/)/ fours,  'iO  p<-t<j-r^  of  /lie   WnrJ:, 
I-  S  of^  Tine,  and  4  fl/'  oihrr   Mailer. 


V.    \  ',         '. 


w 


\     ! 
\     ! 


M  M  1       MM 


\     \\     \\     M  '^ !  ii 

i:_i         [_ j^i  j  [jlJ  [iM_^J  [_M 
T"i        r^-T";  r\\\  ri3~1  fT'l 


TYl'OGKAriUA     .     .     .    [(jo 


A  Half  Sheet  of  Sixtyfours. 


Ilj  lilLl  UlJ  LLLJ 


1 1-3  n 

Ul 


^    M    i  i    M    i 

j  fi  !  !  If?  M  Of  n  ni  i 


"  I  i  "'"^  i  i  "'^  I  i ""  I 


'~-  I  !  r.8  I  i  fif? 


?  42  M  55  i  I    10 


s 


1  f:t-  n  f ^  n  1 1 


1  1  "^^ 
1  1 

!              ! 

i 

0   1 

i 
! 

i     t  ! 


10  !  I  0^ 


I  I  '-'i  i'^  i  r^M  h''  ] 


~  n  is  n  no  i  i  c'  i 


j  I  44  i  j  5:j  11  12  I 


LiiU 


"64~[  pTS^l  FsTj 


\j±\  mH  [j^ 

I  -25  i  Moi  nrn 


106    ■     •     .     TVPOGRAPIUA. 


A  Il'''f  Sheet  of  Scrcntj/-livos,  v:ilh   Three  Signatures. 


M  iM  i. 


C!      ix 


.  ^i ' 

f ! 

— ', 

„, 

,. — , 

, 

(xj 

r 

I — z\  r. 


-j  h,  ""{ r 


f      ! 


i      I 


a!  pi 

■~";         i — 

™j  ( — 


■-•    !^' 


\'. 


=  1    Ii^ 


ii     ! 


s     r 


j  U     K.i 


1  r" 

!      i 


I  r 


! 


TVPOGRAFHIA. 


167 


j    !    r 


I— ' 


(        _   (        ! 


S        J         .,    S 


.—   '        ' 


L 


25      S      ( 


_--o   <       s 


~  i 


S  ! 


i     s 


i      J 


-^  \ 


Ul 


i       CO  !       {•-'., 


i  .o    I 

!  ^^        i 

V? 

o-  . 

K 

5-        1 

CC' 

T; 


168    .     .     .     TYI'OGRAFHIA. 


\  >^\   :cr. 


-i  Li. 


I   -  '  r 


i      ^  i.    i 


\     o£  ;  !  ^     n     :::  !  ;  24 


'  n  '-^      i   L^.^.j  !  -      ! 


'<    '•       '    J 


-  n  <r^ 


',   I  -^      / 


y^W^ 


^  I  ;  '"  -. 


-.  i 


TYPOGRAPHIA.  169 

All  odd  matter,  fur  whatever  sized  form,  should  be  divided 
into  fours,  eights,  twelves  and  sixteens,  which  is  the  ground- 
work of  all  the  impositions,  except  the  eighteens,  which  differ 
from  all  the  others ;  for  instance,  sixteens,  twenty-fours,  and 
tliirty-twos,  are  only  octavos  and  twelves  doubled,  or  twice  dou- 
bled, and  imposed  in  half  sheets :  for  example,  the  sixteens  are 
two  octavos  imposed  on  one  side  the  short  cross;  the  twenty- 
fours  are  two  twelves  imposed  on  each  side  the  long  cross,  and 
a  thirty-two  is  four  octavos  imposed  in  each  quarter  of  the  chase. 
Thus  a  sheet  may  be  repeatedly  doubled.  By  this  division,  any 
form  or  sheet  may  be  impesed,  always  bearing  in  mind,  that  the 
first  page  of  each  class  must  stand  to  the  left  hand,  when  the 
foot  of  the  page  is  towards  vou,  and  to  the  right  when  the  head 
of  the  page  is  nearest  to  you.  Having  set  down  the  first  page, 
then  trace  the  remainder  according  to  the  scheme  which  applies 
to  its  number;  in  proof  of  which,  the  standard  rule  for  all  other 
impositions  may  be  adopted  ;  namely,  each  two  pages  that  come 
together,  will  make  one  more  than  the  number  of  pages  in  the 
class  or  sheet.  The  first  page  of  any  portion  can  be  placed  in 
the  situation  of  any  odd  page,  where  they  make  even  numbers. 
It  is  necessary  to  make  a  few  observations  on  the  method  of 
tying  up  a  page,  w^hich  is  done  with  a  piece  of  strong  pack  thread 
or  fine  twine,  turned  four  or  five  times  round  it,  and  fastened  at 
the  right  hand  corner,  by  thrusting  a  noose  of  it  between  the 
several  turnings  and  the  matter,  with  the  rule,  and  drawing  ii 
perfectly  tight,  taking  care  always  to  keep  the  end  of  the  cord 
on  the  I'ace  of  the  page,  and  while  tying  it  to  keep  the  fore 
finger  of  the  left  hand  tight  on  the  corner,  t\i  prevent  the  page 
from  being  drawn  aside. 

Tlio  page  being  tied  up,  the  couApositor  removes  it  from  the 
ledges  of  the  galley,  to  see  if  the  turns  of  cord  lie  about  the 
utiddle  of  the  shank  of  tlie  letter:  if  thev  lie  too  hio'li,  as  mo-t 
commonly  they  do,  he  thrusts  them  lower,  and  if  tlie  pa^re  be 
not  too  broad,  he  places  the  fore  and  middle  finger  of  liis  riirht 
hand,  on  the  offside  of  the  head  of  the  paire,  and  his  thumb  on 
;he  near:  then,  bendincj  his  other  finders  under,  presses  them 
firmly  against  the  head  of  the  paa:e :  he  next  plaees  tlie  fina-ers 
cf  his  left  hand  in  the  same  positin!)  ai  t'ne  foot  t.f  the  p-ig-^,  and 


170  TYPOGRAPHIA. 

raising  it  upright,  lays  ii  on  a  page  pappr;  tlien,  with  his  right 
hand  he  grasps  the  sides  of  the  page  and  the  paper,  which  turns 
up  against  the  sides  of  the  page,  and  sets  it  in  a  convenient  spot 
under  his  frame,  placing  it  on  the  left  hand,  with  the  loot 
towards  liirn,  that  the  other  pages  that  are  in  like  manner  set 
down  afterwards,  may  stand  by  it  in  an  orderly  succession  until 
he  comes  to  impose  them. 

If  it  l>e  a  large  folio  page,  or  a  broadside,  he  has  tied  up,  he 
cannot  take  that  into  his  hands,  because  it  is  too  broad  for  his 
grasp;  therefore  he  carries  his  galley  and  page  to  the  imposing 
stone,  and  turns  the  handle  of  the  galley  towards  him,  and 
taking  hold  of  the  handle  with  his  right  hand,  he  places  the  ball 
of  the  thumb  of  his  left  hand  against  the  inside  of  the  head 
iedge  of  the  galley,  to  hold  it  and  keep  it  steady,  and  by  the 
handle  draws  the  slice  with  the  page  upon  it,  out  of  the  galley 
letting  the  slice  rest  upon  the  imposing  stone  :  he  then  thrusts 
the  head  end  of  the  slice  so  far  upon  it,  that  the  foot  of  the  page 
may  stand  an  inch  or  two  within  the  outer  edge  of  the  stone, 
and  placing  his  left  hand  a^rainst  the  foot  of  the  page,  in  the 
same  posture  he  last  placed  it  against  the  head  ledge  of  the 
galley,  he  then  draws  the  slice  from  under  the  bottom  of  the 
pase.     We  shall  now  return  to  our  subject :  — 

In  half  shef't'^,  all  the  pages  belonging  to  the  white  paper, 
and  reiteration,  are  imposed  in  one  chase.  So  that  when  a 
shr-et  of  paper  is  printed  on  both  sides  with  the  same  fonn.  that 
sheet  is  cut  in  two  in  the  sliort  cross,  if  quarto  or  octavo,  and 
in  the  short  and  long  cross,  if  twelves,  and  folded  as  octavo,  or 
twelves. 

When  a  com;)osuor  proceeds  to  iinpose,  he  carefully  tak''S 
t(i<'  pages,  wliii:h  lie  had  pre-viouslv  placed  on  pif^^es  of  paper, 
in  r^'gular  succession,  fmm  under  his  frame:  in  tioing  thi^.  the 
pa[)(r  shouli]  bt,'  tiiriitlv  ::rr;i<p'Mi  on  Imth  sides  the  page,  in  ordi-r 
that  it  niav  be  l^cpt  hriu  t^)  t!ie  bottoni  (.>f  the  ])aj;e,  whereas  if  i' 
■shniild  be  j.-t't  --laek.  tiie  l,.u.-rs  wiil  be  liubl-'  to  slip  oiu.  unle.-s 
it  b'""  partieiiKirh'  ^vell  tied  up:  having'  eoiive\-eJ  it  to  the  stone, 
ne  I'.ext  jilaces  th'-  nvo  last  ti:iL^"rs  of  his  riuMit  hand  und'T  the 
nf-;ui  I'f  tiie'  paije.  ],nt  n;it  under  tiie  pncre  paper  at  the  head  ol' 
it,  still  graspii-jg  the  side';  with   hi-;  feire  fingers  and   thumb;  lie 


TYPOGRAPHIA.  ITI 

then  slips  his  It-l'l  hand  so  that  llie  palm  of  it  may  turn  towards 
the  Dottom;  and  lifting  the  page  upright  on  his  right  hand^  h*.- 
disengages  the  left  to  remove  the  paper:  he  next  grasps  tie 
foot  end  of  the  page  with  his  left  hand,  in  the  same  manner  as 
the  right  holds  the  head  of  it,  and  turning  the  face  of  the  letter 
towards  him,  lavs  it  nimbly  down,  so  that  the  whole  page  may 
eome  in  contact  with  the  i'ace  of  tiie  stone  at  one  time,  thereby 
preventing  any  letters  from  slipping  out,  which  would  endan 
ger  llie  breaking,  squabbling,  or  hanging  of  tlie  page. 

As  the  foregoing  method,  particularlv  in  inexperienced  or 
careless  hands,  would  frequentlv  endanger  a  page,  because, 
should  it  be  large,  double,  or  treble  columns,  or  have  side  notes, 
it  would  be  much  safer  to  pursue  the  following  plan,  which  is 
now  adopted  by  many  compositors;  namely,  to  provide  good 
strong,  not  coarse  and  rough,  page  papers,  and  when  the  pages 
are  brought  to  the  stone,  instead  of  lifting  them  up  as  just 
noticed,  they  are  slided  off  the  papers  in  the  same  manner  as 
before  directed  respecting  a  folio  page  on  the  slice  galley,  being 
careful  that  no  particles  of  dirt  remain  under  the  page. 

Being  sure  that  our  pages  are  laid  down  right,  Ave  proceed  to 
dressing  of  chases,  which  we  will  suppose  to  be  for  a  sheet  of 
(ictavo.  Accordingly  we  endeavor  io  come  at  a  good  pair  of 
(•bases,  that  are  fellows,  as  v>'fdl  in  circumference  as  in  other 
respects;  and  having  laid  tliem  over  the  pages  for  the  two 
iiifierent  forms,  we  consider  the  largeness  of  the  paper  on 
which  the  work  is  to  be  dune,  and  put  such  guUer-stick  between 
\>ncrc  and  nao-e,  and  such  reylets  along  the  sides  of  tlie  two 
i-i-osses,  as  v.'iil  give  tiie  book   proper  mar:xins  after  it  is  bound. 

I'lie  iuige>  of  a  sheet  or  half  slieet  being  now  laid,  our  next 
(.usiness  is  to  arrange  the  margiOj  so  that  each  page  mas 
"I'cupy  one  side  of  a  leaf,  and  have  tlie  proper  proportion  ot 
■wiiite  paper  left  at  the  sides,  as  well  as  at  tiie  head  and  foi^'t 
thereof.  Custom  has  f;uiiiliari>-ed  us  to  tije  printed  page  being 
a  little  higher  tlian  tlie  middle  of  tiie  leaf,  :uid  to  its  having  a 
little  more  margin  on  tlit;  ou'.siue  than  in  tlie  back. 

In  iiiaking  Tuarrrin;  some  r,<e  the  following  method,  fi^r 
octavos;  viz.  tiiey  measure  and  mark  the  width  of  four  pages 
by    conip-v..^es.    on    a    slieet    of    paper  designed    for    the    work. 


172  TYPOGRAPHTA. 

beginning  to  measure  at  one  extremity  of  the  breadth  of  tlie 
sheet.  The  rest  of  the  paper  they  divide  into  four  equal  parts, 
allowing  tAvofourths  for  the  width  of  two  separate  gutter-sticks; 
the  remaining  two-fourths  they  divide  again  into  four  equal 
parts,  and  allow  one-fourth  for  the  margin  along  each  side  of 
ihe  short  cross,  and  one-fourth  for  the  margin  to  each  outside 
page.  But  because  the  thickness  of  the  short  cross  adds  con- 
siderably to  the  margin,  they  reduce  the  furniture  in  the  back 
accordingly,  and  thereby  enlarge  the  outside  margin,  which 
requires  the  greatest  share  to  allow  for  the  unevenness  of  the 
paper  itself,  as  well  as  for  pressmen  laying  sheets  uneven, 
when  the  fault  is  not  in  the  paper.  Having  thus  made  the 
margin  between  the  pages  to  the  breadth  of  the  paper,  they  pro- 
portion the  margin  at  the  head,  in  the  same  manner,  to  the 
length,  and  accordingly  measure  and  mark  the  length  of  two 
pages,  dividing  the  rest  into  four  parts,  whereof  is  allowed  one- 
fourth  on  each  side  of  the  long  cross,  and  one-fourth  for  the 
margin  that  runs  along  the  foot  of  the  two  ranges  of  pages. 
But  thougli  each  part  is  counted  equal  to  another,  they  do  not 
prove  so  upon  examination;  for  as  in  the  short  cross,  so  they 
lessen  tht;  I'urnitun^  on  1)oth  sides  tliie  long  one.  to  enlarge  the 
bottom  margin,  for  the  same  reasons  tliat  were  assigned  i'or 
extending  ihe  side  margin. 

Tins  being  ihe  method  that  is  used  by  some  in  making  mar- 
gin lo  octavos,  ihey  go  the  same  way  to  v.'ork  in  twelves,  where 
ilicir  chief  rare  is  U)  fix  upon  a  proper  size  for  the  head-sticks; 
and,  ac(_'()rdinic  to  iheui,  allow  in  the  following  manner:  vi/. 
for  llie  outer  iiiari^in  alouij  the  foot  of  llie  pagi-s,  the  amount  of 
two  thirds  ot'  the  lir.'adth  of  tin-  hrad  sticks,  and  th(>  same  ior 
the  inner  ninrijin-.  that  reach(^s  fiom  the  foot  of  the  ilfth  jiage  to 
tlic  centri'  of  tiie  gll)()^■('  I'or  the  points;  and  from  the  ciMitre  of 
that  2:roo\e  to  the  pa^cs  of  the  qiiiri',  or  that  cut  oil",  thi'\-  alloAV 
half  of  tlie  breadth  of  the  head-stirk.  As  to  the  marijin  along 
tlie  lona  cross,  it  is  ^^overned  b\'  the  ^'utter- sticks .  and  it  is 
C(jinnion  to  put  as  inucli  on  each  side  of  thi'  lonij  cross  as 
amounts  to  haH'ihe  breadtii  oi'  ih(>  gutier-suck.  without  deduct- 
iiiix  almost  :mv  thini,^  for  ilie  long  cross,  since  that  makes 
'iUuwance  for  llie  inef]iiaHlv  (if  the  outer  margin. 


TYFOGRAPIIIA.  173 

Thus  much  may  suffice  about  making  margin  the  above  way, 
which  is  laid  down  in  Smith's  Grammar,  published  in  1755. 
We  shall  now  proceed  to  give  the  plan  adopted  by  us,  which 
seems  to  be  much  more  simple  in  its  arrangement  than  any  we 
have  noticed  in  the  various  works  upon  this  subject.  Having 
laid  our  pages  as  nearly  as  possible  in  their  proper  places  on 
the  stone,  with  a  suitable  chase  around  them,  we  fold  a  sheet 
of  paper  which  has  been  wetted  for  the  work,  or  one  of  the 
same  size,  into  as  many  portions  as  there  are  pages  in  the 
form,  and  holding  the  sheet  thus  folded  on  the  first  or  left  hand 
page  of  the  form,  one  edge  even  with  the  lei't  hand  side  of  the 
types,  we  place  the  adjoining  page  so  that  its  left  side  may  be 
even  with  the  right  hand  edge  of  the  folded  paper,  which  will 
leave  a  sufficient  space  between  the  two  pages  to  admit  the 
gutter  stick,  which  should  then  be  selected  of  a  proper  width  to 
suit  the  form  in  liand,  as  follows : — In  Octavos,  about  a  Great 
Primer  less  in  width  than  the  space  between  the  pages,  as 
determined  by  the  above  rulej  in  Duodecimos,  about  a  Pica 
less;  in  Sixteens,  about  a  Long  Primer,  and  proportionabiy 
less  as  the  number  of  pages  are  increased.  Having  thus  secured 
the  proper  width  for  the  gutter  sticks,  we  cut  them  according  to 
the  rules  laid  down  for  that  purpose,  and  holding  one  of  them 
between  the  two  pages  above  the  page  cord,  close  the  pages  up 
to  it;  we  then  open  our  folded  sheet  so  as  to  cover  the  two 
pages,  and  bringing  the  fold  in  the  paper  exactlv  in  the  middle 
of  the  gutter  stick,  we  secure  it  there  with  the  point  of  a  pen- 
knife or  bodkin;  the  right  hand  edge  of  the  paper  thus  opened, 
must  be  brought  to  the  centre  of  the  cross  bar,  which  determines 
the  furniture  required  between  it  and  the  pages.  Having  thus 
arranged  our  margins  for  the  back  and  lore  edge  of  the  book, 
we  proceed  in  like  manner  to  regulate  the  head  and  foot  mar- 
gins, by  bringing  the  near  edge  of  tlie  folded  paper  even  with 
I  lie  bottf)m  of  the  firs*  page,  and  so  placinir  tlie  adjoining  oil' 
page,  that  its  liead  may  be  barely  covered  by  the  off  edge  of  the 
folded  paper,  which  will  give  th(!  required  head  margin;  all 
oilier  seciiuns  of  liie  form  must  be  rejrulated  by  the  foregoing 
nieasureiucnls.  wiicu  our  margins  for  the  v.'hule  she.t  will  be 
fjuud  Cirn-ct. 


174  TYPOGRAPHIA. 

In  imposing  jobs  where  two  or  more  of  the  same  size, 
requiring  equal  margins,  are  to  be  worked  together,  we  fold  our 
paper  to  the  size  appropriate  for  each,  and  so  arrange  our  types, 
that  the  distance  from  the  left  side  of  one  page  to  the  left  side 
of  the  adjoining  one,  shall  be  exactly  equal  to  the  widtli  of  the 
folded  paper,  as  before  described. 

All  that  has  been  said  concerning  making  margin,  relates 
properly  to  imposing  the  first  sheet  of  a  work;  for  after  that  is 
truly  dressed,  a  second,  or  more  sheets,  may  be  dressed  with 
less  trouble;  for  then  we  impose  from  wrought-otT  forms,  where 
we  have  nothing  else  to  do  but  to  put  the  chase  and  furniture 
about  the  pages,  in  the  same  manner  as  we  take  it  oif  the  form 
we  are  stripping;  aller  which  we  untie  the  pages  to  make  room 
for  the  quoins,  which  we  put  to  each  quarter  in  the  same  order 
as  we  take  them  off  the  form  we  impose  from. 

Having  dressed  the  inside  of  our  pages,  we  then  place  side 
and  foot  sticks  to  their  outsides;  being  thus  secured  by  the 
furniture,  we  next  untie  them,  quarter  after  quarter,  the  inner 
page  first,  and  then  the  outer,  at  the  same  time  forcing  the 
letter  towards  the  crosses,  and  using  every  precaution  to  pie 
vent  the  pages  from  hanging  or  leaning;  and  in  order  to  guard 
against  accidents,  when  the  quarter  is  untied,  we  secure  it  with 
a  couple  of  quoins. 

I'y  observing  a  proper  method  in  cutting  up  new  furniture, 
the  same  will  bi'  serviceable  for  other  works,  as  well  as  the  on*' 
for  which  it  is  intended,  even  though  the  size  of  the  page  mav 
dilltr,  provitled  it  agrees  with  the  margin  of  the  paper.  Th*^ 
giitii-rs  should  be  cut  two  or  three  lines  longer  than  the  pagp ; 
the  head-stii'ks  vs'ider;  the  back  furniture  may  run  nearh'  down 
to  ihc  rim  of  the  chase,  but  must  Ijc  level  with  the  toji  of  the 
jjairc.  wliich  will  admit  of  tlie  inner  head-slii.'k  running  in;  ihc 
dill'  rcnro  of  the  outer  luad-stick  mav  go  uvcr  the  side-stiok, 
luui  tlu-  irult<T  will  then  run  up  between  them.  The  side-stick 
Dulv  need  tn  be  cut  exa(n.  and  the  furniture  will  complctelv 
jn^liry. 

We  ihi'U  proc.-cd  to  locking  up  our  firms:  first  carefullv 
(  \an1inu12:  whether  the  paires  of  each  i[uarter  are  of  an  exact 
!■  ii."ih.    for   even    the  ditl'erence   of   a    lead   will    c;tuse   them    to 


TYPOGRAPHJA.  175 

hang.  We  ascertain  their  exactness  by  placing  the  ball  of  each 
thumb  against  the  centre  of  the  foot-stick,  raisins'  it  a  little  with 
the  pressure,  and  if  the  ends  of  both  pages  rise  equal  with  the 
stick,  it  is  a  proof  they  will  not  bind;  we  then  fit  quoins  be- 
tween the  side  and  foot-stick  of  each  quarter  and  the  chase,  till 
the  whole  form  may  be  raised.  And  though  locking  up  a  form 
may  be  thought  a  trifling  function,  it  demands  our  attention, 
nevertheless,  in  several  instances.  When  we  have  pushed  the 
quoins  as  far  as  we  can,  with  our  fingers,  we  make  use  of  the 
mallet  and  shooting-stick,  and  gently  drive  the  quoins  along  the 
foot-sticks  first,  and  then  those  along  the  side-sticks,  taking  care 
to  use  an  equal  force  in  our  strokes,  and  to  drive  the  quoins  far 
enough  up  the  shoulders  of  the  side  and  foot-sticks,  that  the 
letter  may  neither  belly  out  one  way  nor  hang  in  the  other;  and 
as  to  the  lower  quoins,  they  ought  to  be  driven  to  a  station 
where  they  may  do  the  office  of  keeping  the  letter  straight  and 
even.  And  here  we  may  venture  to  disprove  of  the  custom  of 
slanting  quoins  on  both  sides,  and  planing  their  edges  and  cor- 
ners off,  whereby  all  the  bevelled-off  parts  are  rendered  ineffectual 
to  do  the  ofRce  of  a  quoin  or  wedge;  for  the  slanted  side  of  a 
quoin  running  against  the  square  side  of  the  chase,  must  needs 
carry  a  cavity  with  it,  and  consequently  be  void  of  binding  with 
equal  force  in  every  part.  As  to  the  edges  that  are  planed  off 
across  the  two  ends  of  a  quoin,  the  want  of  them  causes  the 
shooting-stick  to  fly  off  the  quoin  at  almost  every  hard  stroke 
of  the  mallet,  because  the  quoin  end  of  the  shooting-stick  is 
rounded  off;  for  which  reason  we  should  choose  to  have  that 
end  cut  to  suit  the  angle  of  the  quoin  and  imposmg  stone,  when 
the  stick  is  lield  in  a  proper  position. 

It  often  occurs  that  the  quoins,  from  having  been  locked  up 
wet,  stick  so  tight  to  the  furniture  as  to  render  it  troublesome  to 
unlock  them :  in  such  cases  the  inconvenience  is  remedied  by 
driving  the  quoin  up  instead  of  down,  which  immediately 
loosens  it,  and  it  unlocks  with  ease. 

Our  form,  or  forms,  being  now  locked  up,  and  become  porta- 
tile,  wo  remcve  thom  to  the  proof-press,  and  pull  a  proof  of 
them:  we  then  rub  them  over  with  a  wet  lie-brush,  put  them  iu 
the  rack,  and  deliver  the  proof-sheets  and  copy  to  the  reader. 


CHAPTER   VI. 

CORRECTORS  AXD  CORRECTING. 

It  has  ever  been  the  pursuit  of  euiinent  printers  to  aim  at 
accuracy,  by  tlieir  particular  care  that  tlie  effects  of  their 
profession  should  appear  without  faults  and  errors,  not  only 
with  respect  to  wrong  letters  and  false  spelling,  but  chiefly  in 
regard  to  their  correcting  and  illustrating  such  words  and  pas- 
sages as  are  not  fully  explained  or  expressed,  or  are  obscurely 
written  in  the  copy.  The  office  of  corrector  is  not  to  be  applied 
to  one  that  has  merely  a  tolerable  judgment  of  his  mother 
tongue,  but  who  has  some  knowledge  of  such  languages  as  are 
ia  frequent  use,  viz.  Hebrew,  Greek,  Latin,  French,  Italian  and 
German,  and  possesses  a  quick  and  discerning  eve — these  are 
the  accomplishments  by  which  a  corrector  may  raise  his  own 
and  his  employer's  credit;  for  it  is  a  maxim  witli  booksellers  to 
give  the  first  editi(jn  of  a  work  to  be  done  by  sucli  printers 
Vv'hom  lliev  know  to  be  either  able  correctors  themselves,  or  tliat 
employ  fit  pi-rs(jns,  though  not  of  universal  learning,  and  who 
know  th*^'  fiindainenials  of  evcrv  art  and  science  that  may  fall 
und'-r  their  examination.  We  saw  examination;  for  in  cases 
where  a  corrector  is  not  ac(|uainted  witli  tlie  subject  before  him, 
]\r\  to:r^-th"r  with  tlie  [X'rson  that  reads  to  him.  can  do  no  more 
than  lit'-ralU'  I'ompare  and  cro<^-examine  the  profjf  bv  th" 
oriirinal,  witliout  altering  eitlier  the  spelling  or  punctuation; 
Miiee  it  i<  an  autiior's  [)ro\'ince  to  pri'vent  mi-take<  in  sufh  ca-e, 
eitlier  bv  (Irli'.-eriii^:  liis  i'o[)y  very  aeeurate,  and  fairlv  wiitten, 
or  hv  carefullv  peru-^iiii:  t!ie  pro'Ol-^heet. 

^\'llal   1<   eiiit-lly  reil'.lired  of  a   correelor,  be>ide<  e'^pvino'  literal 

fault>,  i<  to  ^pe!|  and  point  after  the  j)revaiHng  method  and 
genius  ut  eae;i  paftuMiIar  lan^uaire:  Imt  the^p  beins'  two  points 
that  never  will  he  reconeijed.  Ijut  always  aff'jrd  emplovnvnt  for 
pedantic  critie-;.  everv  corre(nor  nii'j;]\[  to  fix  upon  a  method  to 
•ipt-ll  ambicrn'ai'^  wurd-  and   i-o,rip  niieN  alivav~  tiie  same  wa'>'. 


TYPOGRAPHIA.  177 

And  that  the  compositors  may  become  acquainted  with  and 
accustomed  to  his  way  of  spelling,  the  best  expedient  will  Le  to 
draw  out  by  degrees,  a  catalogue  of  such  ambiguous  words  and 
compounds. 

As  it  is  necessary  that  correctors  should  understand  languages, 
so  it  is  requisite  that  they  should  be  acquainted  with  the  nature 
of  printing,  else  they  will  be  apt  to  expose  themselves  in  object- 
ing against  several  things  that  are  done  according  to  method 
and  practice  in  printing.  It  is  for  this  reason  that  correctors,  in 
most  printing-offices,  are  chosen  out  of  compositors  that  are 
tliought  capable  of  that  office,  and  who  know  how  not  only  to 
correct  literal  faults,  but  can  also  discern  where  improprieties  in 
workuianshij)  are  used,  whicli  cannot  he  expected  in  gentlemen 
who  have  not  a  sufficient  knowledge  of  printing;  and  it  would 
be  very  ungenerous  in  a  compositor  to  swerve  from  tlie  common 
rules  in  practice,  because  the  corrector  is  not  printer  enough  to 
find  fault  with  it. 

Inaccuracy  may  proceed  either  from  inattention  and  careless- 
ness in  the  printer,  or  else  to  his  non-acquaintance  with  all 
languages,  both  ancient  and  modern;  also  to  a  deficiency  of 
knowledge  in  the  arts  and  sciences,  and  other  abstruse  subjects, 
wherein  technical  phrases  and  terms  often  occur,  which,  unless 
very  distinctly  written,  may  be  misunderstood  by  the  most 
attentive  and  accurate  corrector. 

If  attention  be  paid  to  right  spelling  of  proper  names  of  per- 
sons, places,  technical  terms,  &,c.  the  finishing  of  sentences 
marked  by  the  period,  that  the  author's  ideas  may  not  be 
misunderstood,  and  the  hand-writing  tolerably  legible,  much 
tune,  and  a  very  considerable  expense  would  be  saved,  and  the 
great  object  of  accuracy  gained,  by  gentlemen  who  communi 
cate  their  sentnuents  to  the  public  through  the  medium  of  the 
press. 


178  TVPOGRArmCAL    Marks    KXEMFLIFItI>. 


tlie  individual  by  wj(om  the  art  of  printing  was     Q 
first  discovered;   yet  all  authorities  concur  in 
admitting    Peter    Schoeffer   to    be   the    person'''^ 


wlio  invented  cast  metal  types,  having  learned 
4  ^    tlie  art -©^  of  cutling  the  letters  from  the  Gut- 
5Q    tembergsj.    he  is   also   supposed    to   have  been  ^ 
6;^    the  first  whoengraved  on  copperplates.     The  /v 
following  testimony  is   preseved   in  the  familv,  ^  v 
by    Jo.    Fred.    Faustus,     of    AschefTenburs::  .^ifc  n 
ior~]^'  Peter    Schoeffer,    of    Gernsheim,    perceiving    C/^O^  j 
ii  \y  his  master   Fausts  design,  and  being  himself  / 

12  .^  desirous\a^dendy')  lo  improve  the    art,    found 
out    (by    the   good    providence    of    God)    the 
method   of  cutling    (iHei4'^di)   the   characters      t)^/, 
in   a  matrix,   that  the   letters   might  easily  be 
"*  '/singly    cast,-    instead    of   bieng   cut.     He   pri-      i^^'/ 
14    I     vately   cut   matrices]  for   the  whole   alphabet:  A  is 

Faust   was   so   pleased  with   the    contrivaai^,  ^ 

/that  he  promised   ll'eter  to  give  him  ^x•<i  only     /y 
16     daughter   Christina    in    marriage/a    promise   ^/^i/ 
Avh'ch  he  soon  after  performetl/T 
'^       ,        But   there    were    inani>^ifficulties    at    first      ''^'^    ll 

/  with    these    Irttrrs,   n><\hpre   had   been    before    ,9^/;///.. 
204.     ^\ilh   wooden  jprC  the  metal    being    too    soft  3    ^     „ 
to   support  Uie    force    of  the   impression:   but   '      ,     " 
tliis    dt^^ct    was    soon     remeihed,    hy    mixmg        / 
a  r.ifbstance  with   the  metal  which   sulhciently  /r.  '"^ 
"'  O-' hardened  if.' 


M//)l-i  r//.)/  /^/./;/  ///e-K  /nf/lKce-y. 


TVrOGRAPHlCAL     MARKS    EXEMPLIFIED. 

Though  a  variety  of  opinions  exist  as  to 
tlie  individual  by  whom  the  art  of  printing  was 
first  discovered;  yet  all  authorities  concur  in 
admitting  PETER  SCHOEFFER  to  be  the 
person  who  invented  cast  metal  types,  having 
learned  the  art  of  cutting  the  letters  from  the 
Guttembergs:  he  is  also  supposed  to  have  been 
the  first  who  engraved  on  copper-plates.  The 
following  testimony  is  preserved  in  the  family, 
by  Jo.  Fred.  Faustus,  of  Ascheffenburg: 

'Peter  Schoeffer,  of  Gernsheim,  perceiv- 
ing his  master  Faust's  design,  and  being  him- 
self ardently  desirous  to  improve  the  art,  found 
out  (by  the  good  providence  of  God)  the 
method  of  cutting  (incidendi)  the  characters  in 
a  matrix,  that  the  letters  miglit  easily  be  singly 
cast,  instead  of  being  cut.  He  privately  cut 
matrices  for  the  whole  alphabet:  and  when  he 
showed  his  master  the  letters  cast  from  these 
matrices,  Faust  was  so  pleased  with  the  con- 
trivance, that  he  promised  Peter  to  give  him 
his  only  daughter  Christina  in  marriage,  a 
promise  which  he  soon  after  performed.  But 
there  were  as  many  difficulties  at  first  with 
these  letters,  as  there  had  been  before  with 
wooden  ones,  the  metal  being  too  soft  to  sup 
port  the  force  of  the  impression :  but  this  defect 
was  soon  remedied,  by  mixing  the  mc-ta!  with 
d  substance  which  sutFiciently  hardened  it.' 


180  TYPOGRAPHIA. 

EXPLAXATIOX  OF  THE  CORRECTIONS. 

A  WRO.VG  letter  in  a  word  is  noticed  by  drawing  a  short  per- 
pendicular line  through  it,  and  making  another  short  line  in  the 
margin,  behind  whicli  the  right  letter  is  placed.  (See  Xo.  1.) 
In  this  manner  whole  w'ords  are  corrected,  by  drawing  a  line 
across  the  wrong  ^^•ord,  and  making  the  right  one  in  the  mar- 
gin, opposite  the  lauhy  line. 

A  turned  letter  is  noticed  by  drawing  a  line  through  it,  and 
the  mark  Xo.  2  in  the  margin,  if^  a  corrector  is  not  able  to  dis- 
tinguish such  turned  letters  as  have  a  resemblance  to  others,  it 
is  much  better  to  mark  such  letters  in  the  margin. 

If  letters  or  v/ords  are  to  be  altered  from  one  character  to 
another,  a  parallel  line  or  lines  should  be  made  underneath  the 
word  or  letter,  viz.  for  capitals,  three  lines;  small  capitals,  two 
Hnes,  and  Italic,  one  line:  and  write  in  the  margin  opposite  the 
line  where  the  alteration  occurs.  Caps,  Sinall  Caps,  or  Ital. 
(See  Xo.  3.) 

Wlien  letters  or  words  are  set  double,  or  are  required  to  be 
taken  out,  a  line  is  drawn  through  the  superfluous  word  or 
letter,  and  the  mark  Xo.  1,  placed  opposite  in  the  margin. 

^\'licre  the  punctuation  requires  to  be  altered,  the  colon, 
snd  period,  if  marked  in  the  margin,  should  be  encircled. 
(See  Xo.  5.) 

"Where  a  space  is  wanting  between  two  words  or  letters 
wiiich  are  to  be  separated,  a  caret  must  be  made  where  the 
separation  ought  to  be,  and  the  sign,  Xo.  6,  placed  opposite  in 
the  margin. 

.\o.  7  describes  the  manner  in  which  the  hyphen  and  ellip'-is 
line  are  marked. 

Sliould  a  lettr-r  have  })f'cn  omitted ,  a  caret  is  put  at  the  plac", 
and  the  h  ttr-r  marked  as  Xo.  >. 

Where  words  or  b-ttei's  that  should  join  are  separated,  or 
when  a  line  is  too  wide  spaced,  the  mark  Xo.  9,  must  be  placed 
und'-r  it.  and  thf>  junction  r^io'nifif^d  by  that  in  the  margin. 

AVlierf  a  new  paraoraph  is  rr-quired,  a  quadrangle  is  drawn 
in  thr>  mnr^'in.  and  a  caret  placed  at  tlic  beginning  of  the  sen- 
tence.    ('See  \o.  10.) 


TYPOORAPIIIA  181 

No.  11  shows  the  way  in  which  the  apostrophe,  inverted 
commas,  the  star,  and  other  references  and  superior  letters  and 
figures  are  inarlved. 

Where  two  words  are  transposed,  tlie  word  placed  wrong 
should  be  encircled,  and  the  mark  No.  12  placed  in  the  margin  : 
out  where  several  words  require  to  be  transposed,  their  right 
order  is  signified  by  a  figure  placed  over  each  word,  and  the 
mark,  No.  1"2,  in  the  margin. 

Wiiere  words  have  been  struck  out  that  have  afterwards 
been  approved  of,  dots  should  be  marked  under  such  words, 
and  in  the  margin  write  Slet.     (See  No.  13.) 

"Where  a  space  sticks  up  between  two  words,  a  horizontal 
line  is  drawn  under  it,  and  the  mark.  No.  14,  placed  opposite, 
in  the  margin. 

Where  several  lines  or  words  are  added,  they  should  be 
written  at  the  bottom  of  the  page,  and  a  line  drawn  from  the 
place  where  the  insertion  begins,  to  those  lines  or  words.  (See 
No.  15.)  Jjut  if  more  is  added  than  can  be  contained  at  the 
foot  of  the  page,  write  in  the  margin.  Out,  see  copij,  and  enclose 
the  omission  between  brackets,  and  insert  the  word  Out,  in  the 
margin  of  the  copy. 

Where  letters  or  lines  stand  crooked,  they  are  noticed  by 
drawmg  lines  before  and  after  them;  l)ut  where  a  page  hangs, 
lines  are  drawn  across  the  entire  part  afi'ected.    (See  No.  16.) 

When  a  smaller  or  larger  letter,  of  a  dillercnt  fount,  is  im- 
properly introduced  into  the  page,  it  is  noticed  by  the  mark. 
No.  17.  wiiieh  signifies  wrong  fount. 

If  a  j)aragraph  is  improperly  urade.  a  line  should  be  drawn 
from  th.c  bnikcn-ofl'  matter  to  the  next  paragraph,  and  write  in 
tlie  margin,  .Vo  T.     (See  No.  IS.) 

\\'here  a  word  or  words  have  been  left  out,  or  are  to  be 
ad(](Hl,  a  caret  must  be  made  in  the  j)lace  where  they  are  in 
tended  to  come  in,  and  the  word  or  words  written  in  the  margin. 
(S(  e  No.  10.) 

^^'here  a  faulty  letter  appears,  it  is  marked  by  making  a  cross 
under  it.  and  placing  a  similar  one  in  the  margin,  though  some 
prefer  to  dr;iw  a  perpendicular  line  through  it  as  in  the  case  of 
a  wrong  Iciicr.     (""^t  e  No.  ■?().) 


182  TYPOGIIAPHIA. 

CORRECTING  IN  THE  METAL. 

By  correcting,  we  understand  the  rectifying  of  such  faults, 
omissions,  and  repetitions,  as  are  made  by  the  compositor,  either 
through  inadvertency  or  carelessness.  And  though  the  term  of 
coirections  is  equally  given  to  the  alterations  that  are  made  by 
authors,  it  would  be  more  proper  to  distinguish  them  by  the 
name  of  emendatio7is;  notwithstanding  it  often  happens,  that 
alter  repeatedly  mending  the  matter,  the  first  conceptions  are  at 
last  recalled:  for  the  truth  thereof  none  can  be  better  vouchers 
than  compositors,  who  often  suffer  by  fickle  authors  that  know 
no  end  to  making  alterations,  and  at  last  doubt  whether  they 
are  right  or  wrong;  whereby  the  work  is  retarded,  and  the  com- 
positor greatly  prejudiced  in  his  endeavors;  especiallv  where  he 
IS  not  sufTiciently  satisfied  for  spending  his  time  in  humoring 
such  whimsical  gentlemen. 

Correcting  is  the  most  disagreeable  part  of  a  compositor's 
business,  attended  not  only  with  loss  of  time,  but  great  fatigue, 
from  leaning  over  the  stone,  and  is  therefore  extremely  prejudi- 
cial to  hcahli.  To  avoid  this  we  rpcommend  silence,  and 
attention  when  at  work.  The  noise  and  confusion  which  too 
often  prevail  in  a  printing-ofiice,  from  light  and  frivolous  con- 
versation, not  only  retard  business,  but  at  the  same  time  distract 
the  attention  of  the  compositor  from  tiie  subject  he  has  in  hand, 
and  cause  him  to  run  into  such  mistakes  as  can  only  be  rectified 
by  loss  of  time,  and  fatigui'  ut  the  imposing  stone.  Some  men, 
no  doubt,  are  capable  of  supporting  a  conversation,  and  at  tlie 
same  time  compose  correctlv.  but  their  uiiise  must  coniu^e 
iho'^e  whn  ;ire  iuiabl(>  to  ])reseive  that  accuracv  but  in  quiet, 
and  b\'  rinse  attention  to  tli(>ir  ro[)V.  The  j)re^s-room  should. 
U  j)0ssii)h'.  be  separated  I'roiu  the  composing;' room,  us  the  press- 
men are  gein  ral!v  (l)seussiiii{  some  iin^ioiidnl  Inpir,  and  art- 
less liable  to  f((;l  the  im'oii  vi'iiience  of  much  talking. 

Tbe  tir-t  i)rooi'  should  merely  eontain  tiiO  errors  of  the  corn- 
posUor,  liut  it  too  freijuently  happens  ihat  the  corrector  heightens 
them  by  his  peculiiu-Jties :  when  this  is  unneef^ssarily  done,  it  is 
an  act  of  injustire  to  the  compositor:  it  is  sufficient  for  him  to 
rectify  such    mistakes  as   arise  either   friJiii   inattention  or  want 


TYPOGRAPHIA.  183 

of  judg'mrnt.  By  the  term,  "•want  of  judgment,"  we  beg  not 
to  be  understood  as  including  the  alteration  of  points,  that  being 
a  subject  which  can  never  be  reconciled:  the  compositor  ought 
not  to  sutler  from  the  caprice  of  a  reader,  in  altering  commas 
and  semicolons  in  the  first  proof  (unless  the  sense  is  perverted,) 
which  he  not  unfrequently  re-alters  in  the  second,  from  a  doubt 
upon  his  mind  which  would  be  the  most  proper  points  to  be 
adopted. 

"We  certainlv  agree,  in  conjunction  with  all  our  contempo- 
raries, with  the  necessity  for  the  immediate  correction  of  proofs 
by  the  compositor;  still  we  consider  tliat  we  should  not  have 
performed  our  duty,  (according  to  our  original  intention,)  were 
we  to  urge  an  ex  parte  case,  when  a  similar  injunction  is  equally 
incumbent  on  both  parties.  Ought  not  the  reader  or  overseer  to 
be  equally  as  punctual  in  despatching  the  proofs  in  his  depart- 
ment ^  Can  it  reasonably  be  expected  that  the  compositor  will 
tVel  that  inclination  to  forward  his  proof,  when  he  knows  that 
the  reader  will  not  equally  assist  him? 

Should  a  compositor  have  transposed  two  or  more  pages, 
either  from  a  mistake  in  the  folios,  or  any  other  cause,  he  must 
then  unlock  such  quarter  or  quarters,  and  loosening  the  cross 
or  crosses  from  the  furniture,  he  next  lifts  the  chase  and  the 
remaining  quarters  off  the  stone;  should  he  have  furniture 
suflicient  round  each  page,  he  may  move  them  into  their  pro- 
per stations  bv  pressing  the  balls  of  his  thumbs  and  fingers 
against  tlie  furniture  at  the  head,  foot,  and  sides  of  each  page: — ■ 
if  the  letter  be  small,  it  will  be  advisable  to  wet  the  pages, 
l)ecause  fev/  imposing  stones  are  horizontal,  or  so  steady  that 
tliey  will  not  shake  when  touched,  or  bv  tiie  motion  of  the  floor, 
(xvasioned  eitiier  by  persons  walking,  or  the  dragging  of  forms. 

Should  a  compositor  find  that  his  pajjes  /(«/;"•.  he  must  unlock 
tiiat  (juarter  or  quarters,  and  pat  tlie  face  of  the  type  with  the 
\y.\]\<  of  his  fingers,  and  so  twist  it,  until  he  £r 'ts  it  into  a  square 
posuion. 

Whi-n  a  compositor  unlocks  his  tbrm,  he  siiould  be  careful 
nut  !o  leave  the  unlocked  quoins  too  slack,  as  the  force  neces- 
sarv  to  loosen  tlie  others  mav  eithi'r  sqiifthhlc  iln'  matter,  or 
0('casion  It  to  luniu:- 


184  TYPOGRAPIIIA. 

A  compositor  should  possess  the  following  requisites  before 
he  begins  to  correct — 

"What  is  required  of  a  compositor  when  he  goes  about  cor- 
recting a  foul  proof,  is  a  sharp  bodkin  and  patience,  because 
without  them  the  letter  cannot  escape  suffering  by  the  steel ; 
and  hurrying  will  not  permit  him  to  justify  the  lines  true.  ?so 
wonder,  tlierefore,  to  see  pigeon-holes  in  one  place,  and  pi  in 
another.""" 

It  is  too  well  known  to  all  compositors,  the  delay  and  incon- 
venience (not  to  say  actual  loss,)  which  thev  dailv  suffer  from 
the  Avant  of  a  regular  despatch  of  proofs;  it  is  not  for  us  to  sav 
whether  it  arisf'S  from  an  overpressure  of  business,  or  whatever 
cause;  but  tiiis  we  can  state,  (having  not  only  repeatedly  wit- 
nessed it,  but  also  greatly  suffered  from  it  ourselves,)  that  there 
are  some  overseers  who  do  not  give  themselves  the  least  con- 
cern about  reading  proofs,  (provided  the  work  is  not  in  a  par- 
ticular hurry)  as  long  as  the  compositor  can  rake  together  more 
letter  to  make  up:  at  leno'th,  being  run  out  of  sorts,  he  is  neces- 
sitated to  press  for  his  proofs,  and  should  the  reader  then  have 
leisure,  he  probably  receives  tlie  whole  of  them  as  fast  as  he 
can  correct,  which  is  very  mucli  to  his  disadvantage  in  two 
points  of  view : — first,  lie  has  to  perform  a  disagreeable  task, 
whicli  takes  lon^'T  time  than  if  he  had  received  them  as  they 
were  imposed,  because  much  correcting  fatigues,  and  makes  a 
man  careless,  that  would  othcrwi^p  liavf  dune  iiis  work  moro 
justicf:  secondly,  should  iiis  proofs  turn  out  foul,  and  take  up 


'  In  proni  of  the  iroiiiile  and  iiicnnvniii.-nci'  to  which  compositors  are 
not  untrc-qiicr;:ly  f ii':;j"cted.  wc  prf.-er.t  ;lie  reailfT  wi:h  the  follo\vini.j 
f-j'i'aph.  whi.-ii.  no  doniii.  \v;i=  \vi-i:Tn  hy  a  Typ'J.  while  pcrlorining  the 
most  di-ai'n  (-ahif  task  af^iidaiit  on  iiis  pr'itVssiop. : 

"  \(i  tii'Tr  Avul  fojiy  liad  pr:-pit;.\  my  hrain. 

\o  more  <iiall  tyjje's  small  tare  rny  eye-balls  strain  ; 

No  mure  tb.e  [)roo!"s  I'oal  ]r.\2f  en-ate  me  troubles, 

[i!v  f-rrors.  traiisp>js;:iOii-.  oifs.  and  doiiblts  : 

So  mijr(    my  ii(-ad  shall  a^'iie  Irom  tiuthor's  whims. 

.■\s  ov(-rnmninL's.  driviii_'-ou:<.  and  ins; 

'f  iif-  snriv  p^^-s^man's  irowji  1  now  may  seofl. 

Kevis.d,  i',,:-riM-;.-d.  tlttailv  v  ron-hl  'Al" 


TYPOGRAPHIA.  185 

a  considerable  time,  his  bill  for  that  week  must  be  greatly 
diminished,  as  few  men  make  allowance  from  their  week's 
earnings,  for  the  corrections  which  may  occur  in  the  following 
one.  AVe  ever  shall  contend,  be  the  station  of  the  parties 
what  it  may,  high  or  low,  rich  or  poor,  for  "equal  rights,  and 
equal  laws." 

When  the  compositor  has  as  many  corrections  between  the 
thumb  and  fore-finger  of  his  left  hand  as  he  can  conveniently 
hold,  or  in  his  composing-stick,  beginning  at  the  bottom  of  the 
page,  in  order  that  they  may  follow  regularly;  and  an  assortment 
of  spaces  on  a  piece  of  paj)er,  or,  what  is  more  convenient,  in 
a  small  square  box,  with  partitions  in  it,  let  him  take  the  bod- 
kin in  his  right  hand,  and  instead  of  raising  each  letter  he  may 
have  to  alter,  he  should  place  the  point  of  the  bodkin  at  one 
end  of  the  line,  and  with  the  fore-finger  of  his  left  hand  against 
the  other,  raise  the  line  altogether,  sufficiently  high  to  afford 
him  a  clear  view  of  the  spacing;  he  may  then  change  the  faulty 
letter,  and  alter  his  spacing  before  he  drops  the  line.  By  ob 
serving  this  method,  he  will  not  injure  the  type,  which  must  be 
the  case  where  the  bodkin  is  forced  either  into  their  sides  or 
heads;  it  likewise  ensures  a  greater  degree  of  regularity  where 
there  may  be  occasion  to  alter  the  spacing,  and  will  not  take  up 
more  time  than  the  other  method. 

In  tables,  and  such  like  matter,  where  rules  prevent  tlie  lines 
from  being  raised,  as  just  noticed,  the  letters  must  be  then  drawn 
up  bv  the  bodkin;  tiiis  is  done  by  the  compositor  holding  the 
latter  fist  in  his  right  hand,  witii  tiie  blade  between  his  fore 
lincer  and  thumb,  within  about  lialf  an  inch  or  three  quartiTs 
ot'  the  point,  thus  guidins:  it  steadily  to  the  faulty  letter,  ii.'' 
sticks  the  point  of  the  bodkin  into  the  neck  of  the  letter,  betwccii 
the  beard  and  the  face,  and  thus  draws  it  up  above  tbe  other 
tvpes,  so  that  he  can  take  it  out  with  tlie  fore-frnger  and  thunii) 
of  his  lel't  hand.  In  perlurniini;  this  operation,  as  smull  au 
an^le  as  possible  should  be  made  with  the  blade  of  the  boilkiii, 
■'iz.  It  should  be  kept  as  iiat  as  p')>si!jle  to  the  face  of  the  type 
nut  'lie  blade  of  tlie  bodkin  shiulil  not  i(;:i."!i  ;ii!v  (d'  liie  <iii 
(jiaidiii,^  nei::ii;.,>r<  of  tlie  ''oilf-.-  !'-tter.  a-  tii-  sliLr'nt  ■<!  gra/-" 
luuefneilih-    1.!  .-t    ;:ijt!i-  ■  ih'  .r   I'.ic-.  and    CwU-  'qiieinly  they  will 


18(3  TY  POOR  A  PHI  A. 

appear  imperfect  in  tiie  next  proof,  when  he  will  liave  the 
trouble  of  altering  them,  and  his  employer  suffers  the  loss  ol 
his  type;  Ave  are  again  brought  to  the  union  of  interest  between 
the  parties. 

The  reason  why  the  bodkin  blade  should  be  kept  flat  to  the 
form  is,  because  a  small  horizontal  entrance  of  its  point  into  the 
n(>ck  of  the  letter,  will  raise  it  above  the  face  of  the  form;  but 
should  tlie  bodkin  be  held  nearly  upright,  it  would  not  have 
snfriciriit  purchase  to  draw  the  letter  up,  because  the  weight  of 
tiie  type  and  its  close  confinement,  would  have  greater  poAver 
than  the  sharj)  point  of  the  steel.  By  pressing  sideways,  the 
borlkm  blade  acts  as  a  lever,  even  though  it  has  no  otl)er  pur 
chase  than  nu^rely  the  slight  motion  of  tlie  hand. 

'i'he  most  careful  compositor  cannot  at  all  times  avoid  leaving 
a  word  or  Avords  out,  or  composing  the  san>e  Avord  twice: 
when  this  ha[ipens,  he  should  consider  the  best  mode  of  recti- 
fviusT  llie  accident,  bv  driving  out  or  getting  in,  either  above 
Ibe  eri'or  or  l)elow  it;  this  ascertained,  let  the  matter  l)e  taken 
inlo  a  galley,  nnd  overrun  in  the  ctnnposing- stick:  overrunning 
on  tlM^  stone  is  an  unsafe,  unAvorlcmanlike,  and  dilatory  method, 
.Irsirnvs  the  justification,  and  renders  the  spacing  imeven. 

One  (,)'our  ])redecessors  gives  the  folloAving: — 

'■])Ut  a  great  deal  of  trouble  miuht  be  saved  in  cases  of  outs 
and  (Inul)les.  Avould  correctors  try  t(j  add  as  much  as  Avill  fill  up 
tli"  doubli',  or  to  shorten  the  matter,  to  make  room  for  an  out; 
i;ii!("<s  lii'lh  the  one  and  the  other  are  too  consid<'ral)le  for  that 
exii'diciit ;  Avliicli  otherwise  might  be  safely  ventured.  Avilhout 
eitli!  r  ea^tiatinii  or  f^orruptinn'  a  Avriier"s  meaning.  This  Avould 
Ix'  a  sure  means  to  secure  a  neat  (Vimpositor's  Avorkmanship, 
at'd  :■:<)■(•  in  inie  -:pacini{  his  matter;  Avhereas  that  beauty  is  liist 
b\    a!urati()iis  and  overriuuiin^'." 

lii  I'ni  rci'iiiii;-,  caic  should  be  taken  not  to  bair-spac(>  a  line, 
if  il  can  po'-MJiU'  be  preventeil,  but  avoid  it  by  overrunning 
f  i  l:er  hack  <,r  fa-\vai(l.  lie  shiaild  aNo  in  overrunning  the 
iiia!icr.  \]<f  ihc  (li\iMon  as  little  as  possil)l(>;  for  though  he  may 
car.  iiillv  foildw  ih"  in-trucilons  laid  down  in  tjiis  woi'li.on  th"- 
siihii"-i  ol'  >|iacnic'  and  dividinLT,  \'''t  the  effect  of  his  attention 
n'lil  Ijc  cii)i!iilc!c!\-  ilc-lro\ed.  if  I'cit  lidlowed  uo  at  the  si(jnc. 


TYPOGRAPHIA. 


187 


The  tbllowlng  observation  has  been  made  with  respect  to  the 
despatch  of  proofs : — 

"  The  first  proof  being  corrected,  a  perfect  sheet  is  pulled 
clean,  to  be  sent  to  the  author,  or  to  the  person  by  hiin  author- 
ised ;  either  of  whom,  if  they  understand  the  nature  of  printing, 
will  not  defer  reading  the  sheet,  but  return  it  without  anv 
alteration  perhaps,  to  be  made  ready  for  the  press.  But  because 
such  good  authors  are  very  scarce,  compositors  are  discouraged 
every  time  they  send  a  proof  away,  not  knowing  Avhen  or  how 
it  may  be  returned,  and  how  many  times  more  it  will  be  wanted 
to  be  seen  again,  before  the  author  is  tired,  or  rather  ashamed. 
of  alterino-y 


Ye  Authors  list !  we  must  a  tale  unfiild, 

VVhicli.  doubtless,  some  of  you  have  oft  been  told, 

You  little  dream  how  much  poor  Typo's  vex'd, 

When  with  had  copy  his  mind's  sore  perplex'd  ; 

Nor  is  this  all,  he  still  has  eause  to  dread 

The  Jxeadcr' !!  sail ,  when  first  his  proof  is  read  ; 

Corrected  now,  to  you  "tis  strait  convey'd, 

And  in  a  trice  the  trreatcst  havoc's  made; 

The  pronfa  return'd — tlie  Chap-V s  m>'m>icrs  all 

Rush  to  the  stone,  obedient  to  his  call. 

Aloud  they  roar — enouu;li  to  strilie  Inni  dead, 

''A  mot},  a  moh,  fli'  riof  net  mii.-tt  he  read  !'' 

His  sfrief  to  S'tothe — they,  svinpathisiiiL',  bawl, 

''  Pat leiice  and  a  sh'irp  hod'chi  cures  all  /'' 

Ilis  form,  with  !ie:ivv  li'Mrt.  he  th'_Mi  hnis  up. 

And  letters  seelvS,  whirh  liils  his  bitter  eup  : 

How  otieii,  wlieu  eorreetinu'  at  the  stone. 

He's  prayed  tor  yon,  while  hre^kin^  his  hreast-hojie 

Retleet.  wlipn  next  you  wield  your  potent  quills. 

And  spare  the  printer  all  these  dreaded  ills  ; 

Revise,  transcrihe,  and  make  yo\ir  copi/  ritrhl, 

I'hiis  save  his  labor  and  his  preeious  siirht  I 


188  TYPOGRAPHIA. 

THE  DEPARTME.\T  OF  A  READER. 

HAViNf;  just  given  an  account   of  the  nature  of  correcting, 
the  duties  of  a  corrector,  i\e  deem  it  not  improper,  consideri.. 
the  vast  importance   of  this   branch  of  our  profession,  to  entpr 
somewhat  more  minutely  into  the  subject. 

When  it  is  considered  how  much  the  credit  of  our  art,  and 
the  general  interest  of  literature  depend  on  the  grammatical 
accuracy  and  typographical  correctness  of  our  labors,  it  will 
roadily  appear  that  a  careful  and  steady  Bender  must  be  indis- 
">f'nsable  in  every  printing  officp.  We  shall  therefore  detail  the 
business  and  qualifications  requisite  to  form  such  a  reader,  or 
corrector  of  the  press,  as  can  alone  save  the  tvpographic  art 
from  degenerating  into  one  of  those  ordinary  occupations  that 
require  only  the  mechanical  operation  of  the  fingers,  to  form  a 
perfect  and  complete  workman. 

It  is  always  desirable  that  a  reader  should  have  been  pre- 
viously brought  up  a  compositor.  By  his  practical  acquaintance 
with  the  mechanical  departments  of  the  business,  he  will  be 
better  ablf  to  detect  those  manifold  errata  which,  unperceived 
by  the  mere  man  of  learning'  find  science,  lie  lurking',  as  it 
were,  in  a  thousand  dilff-rent  forms,  in  everv  sheet;  and,  il' 
overlooked,  evince  a  can.'lessness  and  inattention  to  our  labors, 
tliat  must  always  offend  tlie  just  taste  and  professional  discern- 
ment of  all  true  hjvers  of  I'orrei-t  and  beautiful  tvpography. 

.^omi'  of  till'  ])rincipal  impfrt't-eiicjns  wliieh  are  most  easily 
ohse-rved  bv  tlu'  man  of  practical  knowledu'i'  in  liie  art  of  print- 
ii'i:.  arf  the  fdluwmo-:  viz.  inip'^rfrt  and  wnm:,'-- founte'd,  or 
)i;verle(i  h'ttf-rs.  ])arlicularlv  the  l()wepca^;|'  //.  o.  s.  and  the  u ; 
:i\vk^\-ard  and  irregular  spariiifr;  uneven  pages  or  columns  ;  a 
t'lhe  (Ij^pc^lijdn  iif  tiie  refcrenfc  mark'^;  crookedne-';  in  v.'ords 
am!  hii'---:  |-,ad  niakii;:r-np  t'f  malt' r :  irroin-fjus  iad'-mi(,ii,  ^e. 
'J'lii'-.-  miimlhr.  wiiicli  are  ratieT  imperfections  of  workman- 
ship, than  hteral  error^.  are  apt  to  he  (n'erleoked  and  ne^-lect-'d 
liV  tiiu-e  r.-ader-  who  have  no  idea  of  liie  liahihty  there  is,  evr-u 
\v\\\i  tiie  most  careful  c(jmpe-itor.  occasionally  to  fill  into  them. 

It  is  de-irabje  that  a  reader  shnuld  have  been  Ijrought  up  a 
r-,anpo-itor.  because    t'ue   inipr-rl''eciions   aliove  enumerated  rnav 


TYPOGRAPHIA.  189 

noi  be  observed  by  one  who  is  not  practically  acquainted  with 
every  department  of  the  art.  Nevertheless,  long  and  frequent 
habiis  of  reading  proof-sheets  for  the  press,  a  quick  eye,  and  a 
steady  mind,  will  certainly  enable  a  person,  though  not  a  com- 
positor, to  detect  those  minor  deviations  from  correctness,  whicli 
the  inexperienced  and  the  careless  are  apt  to  overlook.  But 
Avhile  these  habits  are  acquiring,  without  which  no  person  can 
be  safely  entrusted  to  read  a  sheet  for  press,  the  labors  of  tlie 
printer  are  liable  to  go  forth  into  the  world  in  a  manner  that 
will  reflect  discredit  on  the  employed,  and  give  offence  to  the 
employer.  This  observation  equally  refers  to  those  readers 
who  have  previously  been  compositors.  No  form,  therefore, 
ought  to  be  put  to  press,  until  it  has  been  read  and  revised  by 
an  experienced  reader. 

But  even  habit  itself  is  not  suflicient  to  form  a  competent 
reader,  unless  he  possess  those  literary  qualifications  which  are 
obviously  necessary  in  an  employment  of  this  nature.  No  one 
should  undertake  this  arduous  task,  until  he  has  made  himself 
a  complete  master  of,  at  least,  his  native  language. 

A  reader  ought  to  be  well  versed  in  all  the  peculiarities  of  the 
English  tongue — its  idioms,  its  true  genius,  and  singular  adap- 
tation to  that  variety  of  expression  in  which  we  embody  our 
thoughts,  and  portray  the  human  intellect.  Instances  AviU  fre- 
(juently  occur,  particularly  in  large  printing-ofllces,  Avhere  a 
knowledge  of  this  nature  and  extent  will  be  almost  indispeu- 
siible.  Many,  even  of  our  first-rate  authors,  are  too  apt,  in 
tlie  warmth  of  discussion,  tiie  flights  of  speculation,  and  the 
laborious  exercise  of  the  thinking  powers,  to  pass  over,  unob- 
served, those  deviations  from  pure  diction  and  strict  grammatical 
arcuracv,  which  they  have  imperceptibly  acquired  the  habit  of 
fallinii:  into,  by  their  ordinary  conversation  with  mankind. 

Although  no  corrector  of  the  press  can  stricllv  be  required  to 
do  otherwise  than  lo  follow  his  copy,  that  is,  faithfully  to  adhere 
to  the  original,  with  all  its  defects,  yet  every  one  must  perceive, 
tliat  it  Avould  often  be  performing  a  friendlv,  and  perhaps  a 
:harital)le  service,  to  point  out,  in  proper  time,  inrperfections 
luui  mi-takfs  wliich  have  escaped  th(>  observation  of  a  quick  or 
voluminous  writer.     This  remark  will,   however,  chiefly  apply 


190  TYPOGRAPHIA. 

to  inaccurate  orthography,  and  glaring  instances  of  erroneous 
syntax.  With  the  spirit,  the  opinions,  the  whims  of  an  author, 
no  corrector  of  the  press  has  any  business  to  interfere.  Some 
writers,  af'te'-  all  the  labors  ol'  the  printer,  and  the  skill  of  the 
reader,  are  doomed  to  make  their  appearance  before  the  world 
with  many  '•  imperfections  on  their  heads,"  are  condemned  to 
[jear  the  contumely,  and  face  the  broad  eye  of  an  unrelenting 
critic. 

~\Ve  shall  conclude  this  part  of  our  subject  by  remarking,  that 
a  reader  ought  not  to  be  of  a  captious  or  pedantic  turn  of  mind: 
the  one  will  render  his  situation  and  employment  extremely 
unpleasant,  and  tiie  other  will  t'-mpt  him  to  habits  destructive 
of  that  consistency  of  character  in  his  profession,  which  he 
ought  ever  scrupulously  to  maintain.  It  too  frequently  hap- 
pens, that  whon  a  compositor  is  called  from  liis  frame,  and  is 
appointed  to  fill  the  situation  of  a  reader,  and  is  admitted  into 
the  sanctum,""  much  less  the  sanctum  sanctorum, f  that  he  con- 
sidf'rs  the  importance  of  his  station  has  placed  him  above  the 
rank  of  his  former  associates:  and  they,  on  the  other  hand, 
concf-i^•e  that  he  still  is,  (literally)  but  as  one  of  themselves; 
because  both  hold  their  situations  by  the  same  tenure,  namely, 
a  supply  of  business  and  irood  conduct:  consequently  it  behoves 
tnem  so  to  acquit  themselves,  that  they  may  retain  the  esteem 
of  tlif'ir  fellow  workmen,  h-st  they  should  unfortunately  be 
forcf'd  into  the  rank';.:}:  when  they  would  be  continually  up- 
braided for  thf'ir  iiiiprop(-r  conduct.  Should  a  compositor  have 
a  fuul  proof,  either  from  inability  or  carelessness,  the  reader 
o;Vn  taunts  iiim  with  it:  the  compositor  very  aptly  replies, 
'•  if  we  could  rompo-f-'  \vi!hout  fauh-.  there  would  be  no  neces- 
suv  for  prnof  roadcr';  !"■  "We  hav  known  in-tancps  of  such 
rr'adr-rs.  v.'hfn  at  ca-e.  not  jif'S'^f-s^ing  half  th"  ability  of  tiie 
(.'' iuip'xit'jrs  \\-ii('ia  th'^y  wish  tu  liulil  up  to  dfrisic-n;  and  who 
cuniniiltfd  e(juallv  as  many  ern.irs  \\-iicu  cf^iuposing!  Let  such 
men  r-lloct  on  this,  "  Ih'  that  is  withoiu  fault,  l>.-t  hirn  cast  the 
f;.-st  ston<\-' 


*  Tuchiiira'  -erni  f^r  thi;  reader's  ruoiii. 
+  Do.  ovi.-r.-etr  or  f:ni|i;'jyer's  r>)'irn. 
t  'rchiiic'illv  apiilxd  ro  roa^,Kl■^i'ors  in 


TYPOGRAPHIA.  191 

We  should  always  preserve  a  strict  uniformity  ia  the  use  of 
capitals,  in  orthography,  and  punctuation.  Nothing  can  be 
more  vexatious  to  an  author,  than  to  see  the  words  lionour, 
favour,  &,c.  spelt  with,  and  without  the  u.  This  is  a  discre- 
pancy which  correctors  ought  studiously  to  avoid.  The  above 
observations  equally  apply  to  the  capitaling  of  noun-substan- 
tives, &c.  in  one  place,  and  the  omission  of  them  in  another. 
However  the  opinions  of  authors  may  differ  in  these  respects, 
still  the  system  of  spelling,  Sec.  must  not  be  varied  in  the  same 
work :  but  whatever  authority  is  selected  should  be  strictly  ad- 
hered to,  whether  it  be  Walker,  or  any  of  his  contemporaries. 

Such  being  the  qualifications  of  a  reader,  it  will  not  be  im- 
proper to  glance  at  the  application  of  those  attainments,  by 
exhibiting  the  process  which  proof  sheets  ought  to  undergo 
before  they  are  put  to  press. 

When  a  first  proof  is  pulled,  the  compositor  who  imposed 
the  sheet,  ought  to  collect  and  arrange  the  copy,  and  deliver 
both  to  the  reader,  who  then  calls  his  reading-boy,  to  read  the 
copy  aloud  to  him.  This  boy  should  be  able  to  read  any  copy 
put  into  his  hands  with  ease  and  distinctness;  he  should  be  in- 
structed not  to  read  too  fast,  but  to  pay  the  same  attention  to 
the  subject,  as  though  he  were  reading  for  his  amusement  or 
edification.  The  eye  of  the  reader  should  not  follow,  but  rather 
precede  the  voice  of  the  boy;  accustomed  to  this  mode,  he  will 
be  able  to  anticipate  every  single  word  in  the  copy;  and  should 
a  word  or  sentence  happen  to  have  been  omitted  in  the  proof, 
his  attention  will  tlie  more  sensibly  be  arrested  by  it,  when  li*' 
hears  it  pronounced  by  his  reading-boy.  He  ought  to  bn  careful 
U'-ii  his  eyes  advance  too  far  before  the  words  of  the  boy:  be 
cause  m  his  attention  to  the  author's  meaning,  he  will  be  apt  t^ 
r(\ad  words  in  the  proof  which  do  not  actually  appear  there, 
and  the  accuracy  of  the  reading-boy  will  but  tend  tn  confirm 
him  in  the  mistake. 

Tli*^  proof  l)oing  r^'ad  with  the  readmg-bov.  the  signature-, 
iif'iid-lirics,  tiths,  and  folios  of  each  page  sliouM  b'  mo^t  car  • 
fiillv  examine;!;  and  the  numhi-r  (if  more  than  on^)  of  th- 
volunin,  si;rnaturr.  and  prima  of  liie  ensuing'  ^;i-'i't.  accarat''ly 
marked  on  the-  margin  of  the  copv,  and  a  bra'.-kef  made  between 
1" 


192 


TYPOGRAPHIA. 


the  last  word  of  that  and  the  first  of  the  next  slieet,  in  order 
tliat  the  compositor,  should  he  not  have  composed  beyond 
tlie  sheet,  may  know  where  to  begin,  without  having  the  trouble 
of  referring,  either  to  the  proof  or  the  form,  and  the  reader  will 
be  certain  that  the  commencement  is  right  when  he  gets  the 
succeeding  sheets — this  prevents  unnecessary  trouble  both  to 
the  reader  and  compositor. 

Before  the  proof  is  sent  to  the  compositor  to  be  corrected  in 
the  metal,  an  entry  should  be  made  in  a  book,  according  to  the 
following  plan  : 


Uate  of   _  .Sii:i;a-  , 
reading,  i   tures.   j 


Xames  of  Works 


1-57. 

May  2 

1 


20 


Decorative  Printing,    .  . 
Pliysiognomical  Portraits 

I'ypoEraphia, 

Mu.■^iL■al  Library,    .    .  .  . 


ent  out. ^Returned 


I'^JT.    I    1^.57. 
-May  2  }  Mav  1 

4  !        ■  .5 

7  I  H 


Mav  :> 


This  account  being  attended  to  at  the  different  stages  of  each 
proofs-sheet,  Avill  enable  the  reader  to  furnish  the  employer  or 
overseer  witli  an  exact  account  of  the  state  of  each  work,  wiili- 
out  trouble  or  inconvenience. 

Ai'ier  the  compositors  have  corrected  the  errors  in  the  form, 
a  clt-an  proof  is  pulled,  wliich  with  llie  first  proof',  is  airaiii 
handed  to  the  rcadi-r,  or  overseer;  wliose  duty  it  is  to  coll;ii.-i 
tiif  correrti-d  sheet  with  the  one  before  read,  in  order  to  a-c^r- 
tiiiii  if  t!i''  corrections  have  hf^en  propf:Tly  made,  and  l!iat  othrr- 
b  iv."  ii'jt  bi '-n  creaii  d  in  t!ie  process;  and  iti  tlie  ctisc  of  ;i  if- 
p.riht.  or  \v!iiTi-  the  author  is  not  to  (■xainiue'  the  proof,  he  then 
proceeds  to  road  it  vory  carot'uHy  for  press. 

Thoro  aro  niaiiv  ''oi:i[)'isitors  whoso  proof-  ;tre  so  foul,  ti;at  ;i 
e<  ahii"-t  an  iiiipo<-ibili!y  for  them  u-,  enrroct  all  tiii>  mark^  at 
Miio  tjiiio,  ('oii>~o(ju'iitl\-  it  i-  iiidi-poiiMiblo  to  have  a  -^ocn;!,] 
poiof  cdriiTtdl  b'  I'^i-i'  it  can  be  -out  oiii;  and  it  not  uiiii'e- 
qii'iitlv  iKippons  that  CM;;ipii><i^'r.-,  in  tbo  (■Miir,'-"  oi'  i:orr.-i;ti;i'j. 
either  tr;ui-i'oM;  a  !■  !!•  r  or  w.^rd,  or  el.-.-  alter  a  le;iei  in  a  v/ord 
tliat    IS   Uvit    In, like-!.   t:>'-;tbv  n-i   oi^lv  I -avujii  Mie  --rr  ji  im-jor- 


TYPOGRAPHIA.  193 

recleJ,  but  also  making  another:  likewise^  when  the  line  is 
raist'd  to  change  the  spaces,  it  often  happens  that  some  of  tneiu 
get  Irausposed.  Consequently  it  is  absolutely  necessary,  in  re- 
'asing  a  proof,  that  the  reader  should  not  only  look  at  the  word 
marked,  but  he  ought  also  to  glance  his  eyes  across  every  line 
in  which  an  alteration  had  been  made. 

In  those  offices  where  more  than  one  reader  is  employed,  it 
is  advisable  -that  a  proof-sheet  should  be  read  over  by  at  least 
two  of  them;  because  the  eye,  in  traversing  the  same  ground, 
is  very  liable  to  be  drawn  into  mistake  and  oversight.  Tlie 
interest  having  abated  which  was  excited  by  the  first  reading,  a 
certain  degree  of  listlessness  imperceptibly  steals  upon  the 
mind,  which  greatly  endangers  the  correctness  of  a  proof. 
Should  ouls  or  douldcs  occur  in  a  proof,  it  ought  to  be  again 
read  by  copy,  to  prevent  any  improper  connection  in  the  over- 
running, either  by  the  insertion  or  removal  of  them. 

Although  wo  recommend  the  propriety  of  proofs  being  ex- 
amined by  more  than  one  reader,  yet  we  beg  to  be  understood 
as  not  admitting  each  reader  to  the  privilege  of  altering  the 
punctuation;  this  duty  should  be  exclusively  confined  to  one 
individual,  as  no  two  men  point  alike,  nor  will  a  subject  always 
appear  to  a  person  in  the  same  light  upon  a  second  or  third 
reading;  consequently  where  a  compositor  is  liable,  in  this  par- 
ticular, to  the  whim  or  caprice  of  several  readers,  it  is  neither 
more  nor  less  than  the  taking  of  so  much  money  out  of  his 
pocket,  because  his  valuable  time  is  unnecessarily  frittered 
awav:  nor  is  this  the  only  evil,  the  employer  not  only  has  the 
work  retarded,  l)ut  also  his  types  injured,  as  well  as  the  liabilily 
of  creating  fresh  errors,  &c. 

Slower  concludes  with  these  observations: — 

"  It  may  not  be  improper,  in  this  place,  just  to  take  notice  of 
the  great  danger  to  the  correctness  of  a  work  which  arises  from 
the  practice,  too  common  with  some  authors,  of  keejiing  their 
proof-sheets  too  long  in  their  hands,  before  they  are  returned  to 
tlie  printer.  As  the  pages  in  the  metal  got  dry,  the  adhesion  ui' 
the  tvpes  to  eacli  other  is  weakened,  and  the  sw<"ll  or  extension 
of  the  quoins  and  furniture,  wliich  the  moisture  had  occasioned, 
?s  removed;  so  that  lliere  is  sfreat  danger  of  letters    falling  out. 


194  TYPOGRAPHIA. 

when  a  form  is  long  kept  from  the  press.  Nor  is  the  danger 
which  is  hereby  occasioned  to  correctness  the  only  inconveni- 
ence; the  impatience  of  authors  to  see  their  works  in  a  fit  state 
for  publication  is  almost  proverbial.  The  pleasure  arising  from 
beholding,  as  it  were,  the  '  form  and  texture'  of  one's  thoughts, 
is  a  sensation  much  easier  felt  than  described.  That  authors, 
therefore,  may  partake  of  this  pleasure  in  a  speedy  and  regular 
succession,  they  should  make  a  point  of  forwarding  their  proof- 
sheets  to  the  printer  as  quick  as  possible,  not  only  that  they 
may  the  sooner  be  got  ready  for  press,  but  that  the  work  may 
proceed  in  a  regular  manner,  Avithout  being  interrupted  by  the 
I'orwarding  of  other  works  in  lieu  of  that,  the  proof-sheets  of 
which  are  detained  beyond  the  proper  time  in  the  hands  of  the 
author. 

"Authors  are  very  apt  to  make  alterations,  and  to  correct 
and  amend  the  style  or  arguments  of  their  works,  when  they 
first  see  them  in  print.  This  is  certainly  the  worst  time  for 
this  labor,  as  it  is  necessarily  attended  with  an  expense  which 
in  large  works  will  imperceptibly  swell  to  a  serious  sum; 
when,  however,  this  method  of  alteration  is  adopted  by  an 
author,  the  reader  must  always  be  careful  to  read  the  whole 
sheet  over  once  more  v/ith  very  great  attention,  before  it  is 
finally  put  to  press. 

""A  proof-sheet  having  duly  undergone  this  routine  of  pur- 
gation, may  be  supposed  to  be  as  frt^e  from  errata  as  the  nature 
of  the  thing  will  admit,  and  the  word  'Press'  may  be  Avritten 
at  the  top  of  the  first  page  of  it.  This  is  an  important  word  to 
every  r(>ader:  if  lie  have  suffered  his  attention  to  bo  drawn 
aside  from  the  nature  of  his  proper  business,  and  errors  should 
be  discovered  wlien  it  is  too  late  to  have  them  corrected,  this 
word  '  Press'  is  as  the  signature  of  the  death-warrant  of  his 
r(-])utalion.  A  reader,  therefore,  should  Ixj  a  man  of  one  busi- 
n(  ss — always  upon  the  alert — all  eye — all  attention.  Possessing 
a  be(y)ining  reliance  on  his  own  powers,  he  should  never  be  too 
confident  of  success.  Imfjcrfrction  clings  to  him  on  every 
side! — Errors  and  mistakes  assail  him  from  every  quarter!  His 
rni^iness  is  of  a  nature  that  may  render  him  obnoxious  to  blame, 
but  r-.in  nardiv  be  said  t^   brinu  liim  in  anv  verv  large  stock  of 


TYI'OGRAPIIIA.  195 

praise.  It'  errors  oscnpp  hini  he  is  justly  to  !)e  ccnsureJ — for 
perfection  is  his  duty  !  If  his  labors  arc  wholly  free  from  mis- 
take— which  is,  alas !  a  very  rare  case — he  has  done  no  more 
than  he  ouglit,  and  consequently  can  merit  only  a  comparative 
degree  of  commendation,  in  that  he  had  the  good  fortune  to  be 
more  successful  in  his  labors  after  perfection,  than  some  of  his 
brethren  in  the  same  employment." 

The  form  being  finally  laid  on  the  press,  and  a  Revise  pulled 
by  the  pressman,  he  sends  it  to  the  overseer,  who  carefully 
casts  his  eyes  along  the  sides  and  heads  of  the  respective  pages, 
to  observe  whether  any  letter  should  have  fallen  out,  any  crook- 
edness have  been  occasioned  in  the  locking  up  of  the  form,  any 
battered  letters,  or  any  Lite  from  the  frisket.  Should  the  revise 
prove  faultless,  he  returns  it  to  the  pressman  with  the  word 
Revise  written  on  the  margin ;  if  otherwise,  to  the  compositor 
to  whom  the  form  belongs,  whose  duty  it  is  to  see  it  immedi- 
atelv  corrected. 


]\Tx\TIIEMATlCAL,  ALGEBRAICAL,  AND  GEOME- 
TRICAL CHARACTERS. 

-|-  pins,  or  more,  is  the  sign  of  real  existence  of  the  quantity 
U  stands  before,  and  is  called  an  aflirmaiive  or  positive  sign.  It 
is  also  the  mark  of  addition:  thus,  a  -{-  h,  or  G  +  ''5  implies 
that  a  is  to  be  added  to  h,  or  G  added  to  9. 

—  liii/ius,  or  less,  before  a  single  quantity,  is  the  sign  of 
negation,  or  negative  existence,  showing  the  quantity  to  which 
it  is  prclixod  to  be  less  than  nothing.  But  between  quantities 
it  is  the  sign  of  subtraction  :  thus,  a — /;,  or  S — 4,  implies  h  sub- 
tracted from  rt,  or  8  after  4  has  been  subtracted. 

=  equal.  Tiie  sign  of  equality,  though  Dcs  Cartes  and  some 
others  use  this  mark  xo  ;  thus  a  =  b,  signifies  that  a  is  equal 
to  I).  Wolfius  and  some  others  use  the  mark  =  tor  the  identity 
of  ratii^s. 

X  into  or  iL'illi.  The  sign  of  multiplication,  showing  tliat 
tlie  quantilit  s  on  each  side  the  same  are  to  be  multiplied  by  one 
another,  as  a  X  b  is  to  be  read,  a  multiplied  intj  h:  1  X  S,  tiie 
product   (if   1   multiplitvl  into  8.      W'oHlus  and  others  make  tl;e 


196  TYPOGRAPHIA. 

sign  of  multiplication  a  dot  between  the  two  factors;  thus,  7  .  4, 
signifies  the  product  of  7  and  4.  In  algebra  the  sign  is  com- 
monly omitted,  and  the  two  quantities  put  together;  thus,  b  d 
expresses  the  product  of  b  and  d.  When  one  or  both  of  the 
factors  are  compounded  of  several  letters,  they  are  distinguished 
by  a  line  drawn  over  them;  thus,  the  factum  of  n  4-  i  —  c  into 
d,  is  wrote  d  X  a  +  b  —  c.  Leibnitz,  Wolfius,  and  others,  dis- 
tinguished the  compound  factors,  by  including  them  in  a  paren- 
thesis; thus,  (rt-f-i — c)  d. 

-r-  by.  The  sign  of  division;  thus  a-^b  denotes  the  quantity 
a  to  be  divided  bv  b.  Wolfius  makes  the  sign  of  division  two 
dots;  12:  4  denotes  the  quotient  of  12  divided  by  4=3.  If  either 
the  divisor,  or  dividend,  or  both,  be  composed  of  several  letters, 
for  example,  wb-^c,  instead  of  writing  the  quotient  like  a 
fraction. 

©-  involution.     The  character  of  involution 

vv  evolution.  The  character  of  evolution,  or  the  extracting 
of  roots. 

7  or  C"  are  signs  of  majority;  thus,  a  y  h,  expresses  that  o 
is  greater  than  b. 

^  or  ^  are  signs  of  minority;  when  wo  would  denote  that 
a  is  less  than  h. 

X  is  the  character  of  similitude  used  by  Wolfius,  Leibnitz, 
and  otliers.  It  is  used  in  other  authors  fir  the  difference  be- 
iwecn  two  quantities,  while  it  is  unknown  which  is  the  greater 
of  the  two. 

:'.so  is.  The  mark  of  geometrical  proportion  disjunct,  and  is 
usually  plaof  d  between  two  pair  of  equal  ratios,  as  3  :  G;:4  :  S, 
shews  that  3  is  to  G  as  1  is  to  8. 

:  or  .  • .  i>  an  arithmetical  equal  proportion  ;  as,  7  .  3  :  13  .  9  : 
i.  e.  7  is  mi  ire  than  '■).  as  13  is  more  than  9. 

Cfluadrat,  ur  pgular  quadrangle,  as  f)llows:  D  AB  =  D 
P/';  i.  e  the  (|ua(lranglf  upon  the  line  AP>  is  equal  to  the  quad 
rangle  up'm  the  line  JU". 

^  Triangle:  as.  .'.  ABC=.a  ADC. 

/  an  Angl.':  a^  /  .\W:  =  I  ADC. 

1  Perpendicular:  as.  AB  1  BC. 

n  Rectai;2:l''d  Parnll:  locfram.  or  tiie  product  of  two  lines. 


TYPOGRAl'IHA.  197 

II  The  character  of  parallelism. 

V  equiangular,  or  similar. 

J^  equilateral. 

C_  right  angle. 

o  denotes  a  degree;  thus  45^  implies  45  degrees. 

'a  minute;  thus,  50',  is  50  minutes:  ",'","",  denotes 
seconds,  thirds,  and  fourths  :  and  the  same  characters  are  used 
where  the  progressions  are  by  tens,  as  it  is  here  by  sixties. 

— -  the  mark  of  geometrical  proportion  continued,  implies  the 
ratio  to  be  still  carried  on  without  interruption,  as  2,  4,  8,  16, 
32,  64  -H-  are  in  the  same  uninterrupted  proportion. 

•J  irrationality.  The  character  of  a  surd  root,  and  shows, 
according  to  the  index  of  the  power  that  is  set  over  it,  or  after 
it,  that  the  square,  cube,  or  other  root,  is  extracted,  or  to  be  ex- 
tracted; thus,  -/  16,  or  -/^  16?  or  V  (2)  16,  is  the  square  root 
of  16.    ^  25,  the  cube  root  of  25,  &c. 

— :  the  differences,  or  excess. 

Q,  or  q,  a  square. 

C  or  c,  a  cube. 

Q.  Q,,  The  ratio  of  a  square  number  to  a  square  number. 

These  and  several  other  signs  and  symbols,  we  meet  with  in 
mathematical  and  algebraical  works;  though  authors  do  not 
confine  themselves  to  them,  but  express  their  knowledge  in 
different  ways,  yet  so  as  to  be  understood  by  those  skilled  in 
the  science.  In  algebraical  works,  therefore,  in  particular,  gen- 
tlemen should  be  very  exact  in  their  copy,  and  compositors  as 
careful  in  following  it,  that  no  alterations  may  ensue  after  it  is 
composed;  since  changing  and  altering  work  of  this  nature  is 
more  troublesome  to  a  compositor  than  can  be  imagined  by  one 
that  has  not  a  tolerable  knowledge  of  printing.  Hence  it  is  that 
very  few  compositors  are  fond  of  algf^bra,  and  rather  choose  to 
be  employed  upon  plain  work,  though  less  profitable  to  them 
than  the  former;  because  it  is  disagreeable,  and  injures  the 
habit  of  an  expeditious  compositor  tiesides.  In  the  mean  time 
we  venture  to  say,  that  thi;  composing  of  algpbra  might  be 
made  more  agreoabl(>  wore  proppr  rases  contrived  for  the  letter 
and  sorts  In  Inncnng  to  such  work,  where  it  is  liki'Iv  to  make  a 
return  '"V.'ar'ls  i'-  r-xtraordinarv  c'iianrcs. 


-98  TyPOGRAPHL\. 

CELESTIAL  AND  ASTRONOMICAL  SIGNS. 


T  Aries, 
^  Taurus, 
n  Gemini, 
°D  Cancer, 


^   Saturnus, 
li  Jupiter, 
S  Mars, 
e  Eartii, 
9   Venus, 


The  twelve  Signs  of  the  Zodiac. 


SI.  Leo, 
njZ  Virgo, 
=^  Libra, 
TTl  Scorpio, 

The  Nine  Planets. 
^   Mercurius, 
jj|T  5  Georgium 

c      Sidus, 
?   Ceres, 
$   Pallas, 


/   Sagittarius, 
V3  Capricorn, 
/^'  Aquarius, 
^  Pisces. 


0   Juno, 
g  Vesta, 
©  Sun, 
O  Moon. 


Seven  of  the  Planets  sometimes  imply  the  seven  days  of  the  week. 


Dies  Solis — Sunday, 
Dies  LuncE — Monday, 
Vies  Martis — Tuesday, 


Dies  Mercurii — Wednesday, 
Dies  Jovis — Thursday, 
Dies  Veneris — Friday, 


Dies  Satwni — Saturday. 

Q  The  dragon's  Head,  or  ascending  node,  and 
Q  The  Dragon's  Tail,  or  descending  node,  are  the  two  points 
in  which  the  eclipses  happen. 

The  Aspects. 

J  Conjunction  happens  when  two  planets  stand  under  each 
otlier  in  the  same  sign  and  degree. 

(9  Oppositio;  happens  when  two  planets  stand  diametrically 
opposite  each  other. 

A  Trigonus;  happens  when  one  planet  stands  from  another 
four  signs,  or  120  degrees;  whicli  make  one-third  part  of  tlu; 
ecliptic. 

n  (iuadril;  happens  when  two  planets  stand  three  signs 
from  each  other,  which  make  90  degrees,  or  the  fourth  part  oi' 
the  ecliptic. 

■)f  Sextil:  is  the  sixth  part  of  the  ecliptic,  which  is  two  signs, 
and  make  (")0  degrees. 

^  New  Moon.  1  9  Full  Moon. 

C.  First  quarter.  i  Jj  Last  quarter. 


TYPOGRAPHIA.  199 

Many  aro  the  signs  and  symbols  which  astronomers  have 
mvented  to  impose  upon  the  credulity  of  the  vulgar,  who  are 
the  cnief  supporters  of  almanacs;  and  especially  of  such  as 
abound  in  predictions  of  any  kind :  among  which  we  reckon 
those  signs  which  give  notice,  on  what  day  it  is  proper  to  let 
blood;  to  bathe  and  to  cup;  to  sow  and  to  plant;  to  take 
physic;  to  have  one's  hair  cut;  to  cut  one's  nails;  to  wean 
children;  and  many  other  alike  nonsensical  observations,  to 
which  the  lower  class  of  people  are  particularly  bigoted;  be- 
sides giving  credit  to  the  marks  that  serve  to  indicate  hail, 
thunder,  lightning,  or  any  occult  phsenomena. 


PHYSICAL  SIGNS  AND  ABBREVIATIONS. 

R  stands  for  Recipe,  or  Take. 
a,  aa,  of  each  a  like  quantity. 
ife  a  pound. 
3  an  ounce. 
3  a  drachm. 
9  a  scruple. 

j  stands  for  1 ;  ij  for  2,  and  so  on. 
fS  signifies  semi,  or  half, 
gr.  denotes  a  grain. 
One  pound  makes  12  ounces. 
One  ounce  contains  8  drachms. 
One  drachm  is  equal  to  3  scruples. 
One  scruple  consists  of  20  grains. 
One  grain  has  the  weight  of  a  barley-corn. 
P.  stands  for  particula,  a  little  part,  and  means  so  much  aa 
can  be  taken  between  the  ends  of  two  fingers. 
P.  ccq.  stands  for  partes  ctquales,  or  equal  parts, 
q.  s.  quantum  sufflcit,  or  as  much  as  is  sufficient, 
q.  p.  quantum  placit ,  or  as  much  as  you  please, 
s,  a,  secundum  arteni,  or  according  to  art. 


200  TYPOGRAPHIA. 

OF  gree:k  and  Hebrew. 

GREEK. 

Greek  is  more  frequently  used  in  printing  than  tlie  other 
peculiar  characters;  it  is,  therefore,  necessary  for  every  respect- 
able printing-office  to  be  furnished  Avith  that  type,  though  not  to 
any  great  amount  of  weight,  as  a  quantity  sufficient  to  serve 
for  quotations,  notes,  mottos,  Sec.  may  be  contained  in  a  pair  of 
cases,  by  dividing  some  of  the  boxes  of  the  upper  case  for  the 
accents,  and  omitting  useless  letters,  ligatures,  and  abbreviations. 
This  was  impracticable  when  ligatures  and  abbreviations  were 
in  use,  for  then  seven  hundred  and  fifty  boxes  Avere  required  fur 
the  different  sorts  in  a  fount  of  Greek.  Tlie  inducement  to  the 
first  founders  of  the  art  to  perplex  themselves  with  cutting  and 
casting  so  many  different  abbreviations  and  contractions  was 
probably  a  desire  to  imitate  Greek  writing,  and  to  produce  in 
type  the  flourishes  of  the  pen;  but  what  could  prompt  them  to 
confound  themselves  with  an  infinite  number  of  ligatures,  can- 
not so  well  be  accounted  for.  Greek  is,  however,  now  ca>t 
almost  every  where  without  either  ligatures  or  abbreviations, 
except  where  founders  have  express  orders  for  them.  Some 
few,  however,  not  only  grace  Greek  letter,  but  are  also  profita^ 
ble  to  a    compositor  Avho  knoAvs  hoAV  to  use  them  properly. 

Having  intimated  that  the  useful  sorts  of  a  fount  of  Greek 
li-tiiT  niav  be  lodged  in  a  pair  of  cases  tliat  contain  no  more 
tlian  two  hundred  and  seven  boxes,  a  scheme  AA'ill  be  presented 
in  the  folluwins  pages  for  that  purpose,  Avhich  Avill  afford  a  fair 
presumption  that  a  great  many  of  tlie  sorts  above  referred  to 
rau^t  be  needless,  Avhere  their  number  occupies  seven  hundi'ed 
and  fifty  box('S.  It  must,  however,  be  observed  that  almost 
thr.e  hundred  of  these  sorts  have  no  other  difference  than  that 
t)f  being  kerned  on  their  hind  side;  for  there  has  been  Greek 
witli  capitals  kerned  on  both  sides. 

We  noAV  jiresent  to  the  reader,  tlie  Greek  alj)habet  Avith  the 
name  dl'eaeh  h'tter  in  English  characters,  its  sound,  and  nume- 
rical valu(\ 


TVPOCiRAPHIA. 


201 


THH  GREEK  ALPHADET, 


Characters^. 

Names  \n  English 
clxaracters. 

Sounds. 

Numerical 
value. 

A  a      .      . 

Alpha  .     ,     . 

a 

1 

15/3^        . 

Beta 

b 

2 

ry  [  .     . 

Cianiuia 

or 
o 

3 

A6      .     . 

Delta    . 

d 

4 

K  E        .      . 

Epsiloii 

e  short 

f) 

y^^i       ■ 

Zeta 

z 

7 

lir,      .      . 

Eta 

e  long 

8 

&^  0 

Theta    . 

th 

1) 

I  i 

Iota 

i 

10 

K  X     . 

Kappa  . 

kc 

20 

\  X      .       . 

Lambda 

1 

30 

M^t    .      . 

Mu  .     . 

m 

40 

N  V      .     . 

Nu  .     . 

n 

50 

SI    .    . 

Xi    .     . 

X 

60 

O  0      .      . 

Omicron 

0  short 

70 

11    7i   tn      . 

Pi     .     . 

P 

80 

P^p.      . 

Rho      . 

r 

100 

S  cr  J         . 

Sisma  . 

s 

200 

TU  .      . 

Tail      . 

t 

300 

Tv      .     . 

Upsilou 

u 

400 

•I>t     .     . 

Phi  .     . 

ph 

500 

X;t     .      • 

Chi  •     . 

ch 

GOO 

^^4.    .     . 

Psi    .     .     . 

ps 

7(K) 

12  ui     .      . 

Omega 

0  long 

800 

202 


TYPOGRAPHIA. 


■3 

•0 

-  ' 

- 

-- 

-3 

-0 

.^ 

-0 

•A 

i 

•■3 

■  z 

- 

- 

•■? 

f.3 

..= 

^ 

K^ 

■-a 

"3 

1-0 

>*ai 

K- 

>-3 

-3 

■-  = 

-•- 

.-0 

'3 

'3 

,= 

... 

... 

-a 

53 

=  = 

.. 

.^ 

i:;i 

^■5 

■  = 

- 

■^- 

^P 

'3 

'  = 

- 

- 

- 

^3 

-3 

-^ 

.. 

-;i 

'3 

■0 

■- 

-0 

'- 

-3 

.3 

- 

- 

•  3 

-3 

A, 

-_.".- 

3- 

■  a 

K 

- 

w 

•s 

K 

f< 

:z 

^ 

?i~; 

■■s 

^« 

- 

•  X 

'j^ 

,£ 

, 

fi* 

.-- 

■X 

,  -* 

-^ 

A 

< 

■/t 

-s 

^ 

:- 

:. 

'- 

'jC 

- 

- 

1: 

'  t5 

^ 

- 

- 

- 

^ 

■s 

-     r 

■- 

'^ 

■rf 

s 

c 

X 

-  i 

- 

s 

X- 

L 


TYPOGRAPHIA. 


203 


< 
O 


<o 


»  ''ts.         •ejBJpFnD  I 


.-^  ?>i  'f-^BjpBnb  1 


"J^    i      "^  ^ 


-s.-       '^"-  I   'ft-       -^K-        -e-        ^ 


204  TYPOGRAPHIA. 

Sucii  compositors  and  reaclprs  as  are  not  Greek  scholars,  and 
even  those  wlio  are,  but  have  not  paid  attention  to  accents,  %vi!l 
do  well  to  bear  in  mind  the  proper  situations  of  the  spirits  and 
accents;  as  many  of  the  faults  which  so  frequently  offend  the 
scholar's  eye,  might  thereby  be  avoided.  The  following  rules 
may  be  easily  borne  in  mind: — IVo  accent  can  be  placed  over 
any  other  than  one  of  the  three  last  syllables  of  a  word.  >,"o 
vowel  can  have  a  spirit,  or  breathing,  e.xcept  at  the  beginning 
of  a  word.  The  grave  accent  never  occurs  but  on  the  last 
syllable;  and  this  being  the  case,  the  asper  grave  ['']  and  lenis 
grave  [*]  can  be  wanted  only  for  a  few  monosyllables,  and  less 
than  half  tlie  quantity  usually  cast  would  be  enough  in  a  fount. 
Almost  every  word  has  an  accent,  but  very  seldom  has  more 
than  one;  and  when  this  happens,  it  is  an  acute  thrown  back 
n[)on  tlie  last  syllable  from  one  of  those  words  called  enclitics, 
which,  in  that  case,  has  none,  unless  it  be  followed  bv  another 
enclitic.  In  no  other  case  than  this  can  a  last  syllable  have 
an  acute  accent,  except  before  a  full  point,  colon,  or  note  of 
interrogation,  when  tlie  grave  accent  of  the  last  syllable  is 
changed  to  an  acute;  a  circumstance  which  has  often  l^d 
printers  who  were  ignorant  of  the  reasons  for  accentinir  the 
same  word  difFerently  in  diil'erent  situations,  to  think  that  there 
was  an  error  in  their  cripy.  and  thus  to  make  one  in  their  proof. 
Most  errors,  however,  proceed  from  those  W'ho  do  not  think  at 
all  about  the  matter. 


HEBREW. 

In  Uif  column  No.  I  of  the  following  table,  th"  force  r,i  ih,. 
Ijilirew  letters,  when  read  without  [xunls.  is  expres>f(l;  and 
the  ii'Xt  culuuin,  A'o.  "J.  give-;  you  their  force  when  the 
fiMiruag'-  is  complicati'il  witli  the  Ma^nretic  points  or  voweh. 
v.-'iir-h  rtr.'  ''(Ttainiy  of  later  date  than  the  present  Hebrev.- 
]•'  I'.r^.      W'e  ',{]<n  i;i\e  their  name.;   in   Eno-lish  characters,  and 

ih    ■]■  I'Urnereril   value. 


TYPOGRAPHIA. 


205 


THE  HEBREW  ALPHABET. 


No.  L 

No.  2. 

iViinier. 
Value. 

Aleph  {^ 

Sounded  a  in 

A  gentle  aspi- 

1 

Beth  2      • 

war  (vowel.) 

rate. 
Bh 

2 

Gimel  J 

g  hard 

Gh 

3 

Daleth  -]  . 

m 

4 

He  n  • 

Vau   1 

• 

a  in  hate  (vow.) 
n  vowel,  or   be- 

A  rougn  aspi- 
rate. 

5 

6 

Zain  \  . 

Ibre  a  vowel,  10 

I)s 

7 

Cheth  p]  . 

Hk 

8 

Teth   12 

Th 

9 

Jod  » 

Like  ee  in  Eng- 

/consonant, or 

10 

Caph  ^,y 

Lamed    7 

lish,  (yoii'el.) 
k  or  c  hard 

llie  softer  y 

20 

**j 

30 

Aleiu  f2  D 

5' 

40 

Nun  j  ? 
Sanieeh    |3 

L 

Soft  .s 

50 
60 

Ain^ 

7* 

0  lonpf.  (vowel) 

kg,  or  ligli,  the 

70 

Phe    3-] 
Tzaddiyyi 
Koph  p   (. 

roughest  as- 

SO 

j  sofi. 

pirate. 

90 

(/,  or  </?i 

100 

Kesch  '   1 

200 

Shin  ^;  or  i^ 

in 

s  liard 

300 

Tluui   j-l    . 

400 

2oe 


TYPOGRArHIA. 


;s 

r 

a 

Q 

•ci 

r 

n 

n 

Ji 

•r 

Q 

^o 

r 

n 

n 

n 

1^ 

ti 

r 

r 

••^ 

..- 

n 

T' 

.i^ 

C 

'n 

•  *-i 

•  #— 

n 

■  .«-i 

n. 

c 

n 

r 

n 

-jr- 

^ 

riL. 

- 

35 

r 

a 

Q 

.CI 

r" 

- 

:i 

- 

'^ 

b 

z 

- 

— 

- 

o 

tJ 

E 

r- 

r^ 

D 

CI 

ij 

f: 

^ 

- 

^ 

.t:\ 

E 

h 

- 

< 

n 

r!_ 

c 

h 

> 

- 

r 

s 

2 

^ 

^ 

Q 

1) 

n 

- 

- 

TYPOCrilAPHTA. 


207 


n-\  ^ 

1    ■BiBjpenj  in 

s 

E 

^\  a 

•s-IBjpEnb  u 

1 

n 

iA 

1 

'- 

CI 

a 

•-5 

:^ 

/" 

'n 

Q 

t^ 

t^ 

n 

52 

rz 

n 

- 

■J 

-a 
§ 

- 

r 

i3 

r— 

C 

J^ 

r; 

' 

t- 

1 

i 

■siuiod  oTji  SuiAinsnf  joj  spcnb  pui;  sjonclg 


IS^ 


•^08 


TYPOGRAPHIA. 


m 

< 


O 

o 

o 


•sjBJpsnU  ra 

a 

L 

a 

e 

"a" 

'fc^BjpBnb  u 

cr 

'- 

M 

1    . 
1 

j^ 

'-^ 

CI 

a 

n 

n 

Q 

C 

z 

:^ 

*— 

*-» 

^ 

j 

XI    " 

x:- 

n 

13 

1 

5  i^ 

» — 

r 

.-T- 

r 

n 

n 

n_ 

r— 

5i 

- 

:^ 

TYPOGRAPIIIA. 

iMters  titat  li 

rti'c  ct  likeness  to  otiicrs. 

Beth 

Caph 

a 

D 

Daleth 

Caph 

Resch 

1 

1 

"1 

iau                Zain 

Jod                Nun 

1             r 

r 

Mem 

Samech 

D 

D 

Gimel 

Nun 

J 

J 

He 

Cheth 

Thau 

n 

n 

n 

Teth 

Mem 

D 

D 

Ain 

Tzaddi 

y 

y 

209 


The  following  five  letters  are  cast  broad,  and  are  used  at  the 
end  of  words,  viz. 

Aleph         He         Lamed         Mem       Thau 

iV      n      h       an 

hut  are  not  counted  among  the  final  letters,  being  contrived  for 
justifying,  because  Hebrew  is  not  divided. 

The  Hebrew  has  no  capitals,  and  therefore  letters  of  the  same 
shape,  but  of  a  larger  body,  are  used  at  the  beginning  of  chap- 
ters, and  other  parts  of  Hebrew  works. 

7'he  Hebrew  reads  from  the  right  to  the  left,  which  is  the 
case  with  all  other  Oriental  languages,  except  the  r-",thio[)ic  and 
Armenian.  In  composing  Hebrew,  therefore,  tlie  Jews  leiiin 
at  tht?  end  of  tlie  composing  stick,  and  justify  llie  vowels  and 
jK^cents  o"\T'r  ;ind  under  tin'  !l't!^■rs  after  ibf^  liin'  of  Tiintler  is 
adju'^tr-d. 


MUSIC, 

Cast  at  tltef'jundnj  of  L.  Johnson  ct  Co.,  Pliiladelplda. 

Ik  no  department  of  letter  foundling  has  the  progress  of  improve- 
ment been  more  deci'leJ  and  ^ati^^factorj*  tlian  in  the  production  of 
music  type.  Delicacy  and  distinctness,  grace  and  symmetry  have 
been  united  in  so  remarkable  a  manner,  that  the  finest  Trork  of 
tlie  music  stamper  can  scarcely  compare  vrith  the  ingenious  com- 
binations of  the  tyj'C  founder  au'l  piinter.  The  music  of  which 
specimens  are  here  given  is  cast  on  the  centre  of  the  body,  and 
any  intelligent  "workman  may  learn  to  compose  it  with  facility. 
A  plan  of  the  cases  accompanies  everj-  fount. 


,4:- 


AOATK.  Xo.  2. 


^r-  ^ 


<.a 


\ — 
If' 


^. 


^=^ ^- — "- 


CHAPTER   VII. 

THE  DUTY  OF  AN  OVERSEER. 

Those  persons  whose  ability  or  ambition  induces  them  to 
aspire  to  the  attainment  of  this  important  situation,  should  be 
endowed  with  something  more  than  an  ordinary  capacity, 
together  with  an  even  and  forgiving  temper;  and  whose  rules 
of  conduct  should  be  founded  upon  the  strict  laws  of  Equity 
and  Justice;  not  deviating  in  the  least  from  the  above  standard 
in  order  to  favor  either  the  employer  or  the  employed;  other- 
wise he  may  stand  a  fair  chance  of  losing  the  good-will  and 
esteem  of  one,  or  perhaps  both  of  the  above  named  parties ;  he 
should  always  bear  in  mind,  in  all  his  actions,  that  a  reciprocity 
of  interests  exists  between  them,  which  is  indispensably  neces- 
sary to  the  forwarding  an  excellent  execution  of  any  branch  of 
art,  and  that  it  falls  precisely  within  his  province  to  maintain 
this  union  of  interests  to  the  utmost  of  his  ability. 

In  houses  where  several  presses  are  employed,  an  Overseer 
is  indispensably  necessary;  it  is  true  a  small  concern  may  be 
conducted  by  an  Employer,  if  he  were  not  liable  to  frequent 
interruptions  while  in  business,  together  with  the  necessary 
absence  from  homo:  on  which  occasions  a  trustworthy  Agent 
is  of  course  required,  not  onlv  to  answer  all  applications,  but 
also  to  attend  to  every  department  of  the  machine;  otherwise 
(compositors  and  pressmon  being  at  all  lim*^«:  dependent  on 
each  other)  one  or  both  may  probal)!y  stand  id[p,  I'rom  thi' 
absence  or  neglect  of  dutv  in  either  partv,  or  from  the  em 
plover's  engagements  abroad.  Having  presiuiied  thus  mucli, 
we  shall  now  venture  to  offer  a  few  hints  for  the  benefit  of  those 
who  are  now,  or  who  mav  hereafter  be  selcrtid  to  fill  this 
highly  important  situation. 

It  has  been  nb'^erv(Hl.  that  an  Overseer  should  bi>  the  fir-^tand 
la«t  ill  attendan'^e  at  tlie  oiTii'e,  in  order  tliat  he  mav  b'^  satisfied 
that  every  person    on    the  premi'^f's  dofs   his   dulv;  likewise  to 


212  TYrOGRAPHIA. 

observe  that  tho;-o  in  the  cstaljlishnieiit  attend  at  their  regular 
time:  we  suggest,  that  th(!  task  of  an  early  attendance  in  the 
morning  would  be  more  propo'ly  filled  by  the  second  in  au- 
thority; because  the  principal  manager  would  of  necessity  be 
frequently  required  to  attend  late  in  the  evening  to  depatch 
proofs,  &.C. 

The  oflice  being  now  swept,  and  the  type  selected  from  the 
dust  by  the  errand  boy,  tliat  found  in  the  body  of  the  rooms 
should  be  given  to  the  Overseer,  or  his  deputy,  (if  any)  who 
ought  to  see  it  immediately  distributed,  and  then  walk  round 
the  house  in  order  that  he  mav  discover  if  the  compositors  have 
followed  his  example,  by  disposing  of  the  portion  found  in  each 
respective  frame,  likewise  that  no  pi  be  left  either  on  the  frames, 
bulks,  or  gallies;  should  there  be  any,  even  a  single  letter,  he 
should  insist  upon  its  b(^ing  immediately  distributed.  Attention 
to  this  particular  is  of  vast  importance,  because  it  not  only 
keeps  the  othce  clear  of  pi,  but  it  also  prevents  useful  and 
valua})le  sorts  from  being  buri(xl. 

He  should  likewise  be  possessed  of  a  thorough  knowledge  of 
the  stal(>  of  every  work  in  progress,  and  as  a  more  effectual 
mode  of  expediting  them,  he  may  adopt  the  following  rules. 
1.  In  companionships,  no  man  should  be  suffered  to  hold  too 
large  a  taking  of  copy,  otherwise  he  would  keep  his  com- 
panions composing  at  random  much  longer  than  were  neces- 
sarv.  wliicli  would  of  course  retard  the  imposition  of  the  sheet, 
and  al-o  r'l'quire  a  much  greater  seope  of  letter  to  enahli^  them 
t'l  proi'pi'd  v.iiii  the  work:  tVnm  which  causo.  it  is  not  at  all 
inipr^  .1)a1p|e.  Ijut  that  the  pn  ssman  will  have  to  remain  idle  in 
iln'  fii'^t  instaiii^e,  nml  consi  ([uently  the  C(>mpo?it(jrs  in  the 
sccutid.  2.  Tlie  moment  a  sheet  is  composed  and  made  u[i.  he 
sliould  order  it  lo  be  im[)0'^ed.  j)ro\-icled  tiiere  be  room  on  tlie 
itiipo'^ini,'  stone  fdrthat  purj)e<(\  .1.  The  same  expedition  should 
be  u:-(  d  in  iietlinir  tlie  [jroof  pulled  when  imposed.  4.  The 
Jiead'  r  >li(iuid  receive  it  in'-t;intlv.  send  it  up  leaf'  by  leaf  to  be 
eori'ecl' d  :  -w-nich  the  O'.ersfer  of  CM\irs(>  will  direct  to  be  for- 
\\nrded  imiiiediaielv.  slii'uld  no  nhstacle  occur  to  prevent  it.  5. 
Thi';  duly  pert'iirmed.  a  sfcnnd  preof  should  be  tak(Mi.  which 
the  read,  r  .-lieuld  hirv.-aril  le>  the  author,  (if  retiuirc'd.)  or  other- 


TYPOGRAPHIA. 


213 


wise  read  it  carefully  through  lor  press;  the  same  expeditiou 
thould  be  used  in  getting  it  finally  corrected  for  working  oflf. 

A  close  attention  to  the  above  hints  a\m11  enable  an  Overseer 
lo  conduct  and  keep  in  regular  motion  a  concern  of  great  mag- 
nitude, not  only  "with  satisfaction  to  himself,  but  also  with 
credit  to  liis  employer,  for  punctuality  and  despatch  of  business. 

Sorts  not  in  general  use,  chases,  furniture,  leads,  &c.  should 
be  locked  up  under  the  care  of  tlie  Overseer  or  his  deputy,  in 
Older  that  tliey  may  be  in  readiness  when  required;  he  would 
also  find  a  memorandum  book,  in  which  an  entry  of  such  sorts 
should  be  made,  liighlv  benellcial. 

He  would  also  find  a  book,  which  we  shall  denominrite  a 
Pcess  Book,  of  vast  importance,  in  which  he  should  regularly, 
every  evening,  make  an  entry  of  the  paper  tliat  tlie  warehouse- 
man is  to  give  out  to  wet,  for  the  various  works  in  pr(.)greis. 
Upon  tlie  prassmen  enquiring  of  liim  what  tlicy  are  to  lay  on 
next,  he  informs  tliem,  and  in  this  book  fills  up  the  necessary 
(ulumns,  acreeable  with  the  lieads  of  the  annexed  table. 


wM>.-n 

eivcn  out 
to  wet. 


JVames  of  Works. 


1S>7.    I 

;\Iay  2  ,  Decorative  Printincr,    .  . 
4  I  Physiognomical  Portraits 

f)  I  Typoirraphia, 

7  :  3ilusical  Librarv,    .   .  .  . 


I      LIMk 


1000 

7.50 

1000 

3000 


11  ,-May-l 

82  '           5 

20  8 

2  !           9 


>PC' 

Flur 


[t  is  G'eneraliy  the  busint-ss  of  the  Overseer  to  revi-e  the 
proofs  f;)r  pr(\ss.  in  doing  wiiich  lie  -^'ill  be  careful  not  onlv 
10  ascertain  whether  all  tlie  corrt'ctions  marked  in  the  proof  arc 
.uade,  but  also  to  cast  his  eye  carefully  over  the  sides,  head, 
and  bottom  of  each  page,  as  it  frequently  happens  that  the  t^jlios 
.;  r  catch  words  drop  out  of  the  form  in  liftino-  it  off  the  imposing 
stonp;  also  in  leaded  matter,  letters  at  the  beginning  and  en-Is 
lit"  line-;  frequently  fall  out  of  tlieir  proper  place,  and  bv  siaiid- 
inLf  crookfHl  havo  a  slovenly  app^■aranc^^  Before  the  revi-p  is 
rfivrn  to  the  cotnpositor,  the  names  of  the  pressmen  who  are 
intended  to  work  off  the  form,  should  lie  entered  in  the-  Pi-e^s 


214 


TYPOGIIAPHIA. 


Book.  With  foul  composiiors,  the  Overseer  should  invariably 
require  a  second  revise,  in  order  to  ascertain  if  all  the  correc- 
tions have  been  made  wliicli  were  marked  in  the  first,  as  no 
sort  of  dependence  can  be  placed  on  them.  He  should,  (where 
there  is  not  a  person  engaged  expressly  for  the  purpose,  as  is 
the  case  in  houses  employing  ten  or  fourteen  presses)  go  regu- 
larly round,  about  every  quarter  of  an  hour,  to  the  diflerent 
l)resses,  and  examine  their  work,  point  out  defects,  if  any,  and 
glance  again  over  the  heads,  sides,  and  bottoms  of  the  pages,  to 
see  if  any  thing  has  been  drawn  out  by  the  rollers,  which  fre- 
quently occurs  from  bad  justification  of  the  lines,  and  careless 
and  improper  locking  up  of  the  form.  An  active  and  consci 
entious  Overseer  will  nut  be  content  with  merely  managing  the 
concerns  of  the  composing  room ;  he  will  also  see  that  the 
business  of  the  Avareliouse  is  attended  to  with  regularity  and 
accuracy;  and  that  the  warehouseman,  errand  boys,  and  ap- 
prentices ilo  their  duty. 

Having,  in  the  present  Chapter,  pn^sented  the  Overseer  with 
tlie  plan  of  a  book,  called  the  Press  Book,  we  shall  introduce 
another  of  equal  importance,  (Avhich  we  shall  call  a  Check 
Book,)  for  the  purpose  of  checking  the  bills  of  both  t!ie  Com- 
j)ositors  and  Pressmen  ;  this  book  enables  him,  at  a  single  glance, 
to  discover  any  overcliarges  that  may  have;  been  made. 
Plan  of  a  Book  for  Cherkiivj;  Comitosilors''  (ind  Prcssntvn's  Hills. 


Ad 

uus' 

TyiK.gniphia,  i^iuo.   Double  Med.     No.  lUIHt.        j 

7. 

C(inipnMl{ 

r,-^'      _.       I'y  wlioiii  worked  ;u  I'less. 

( Jbservaiions. 

J-^ 

-= 

■~ 

1        C                                              1 

1     % 
'I  \     ^     1  f)nicr  l''orni.   Inner  Form. 

i|  §  1 

ni  <;'  ', 

I, 

■1 

.')'  Si   ■z:^  .1.  Spoer. 

C.  i'lue. 

'■  I-'  1"*:    1 

(;,         7r.  C.  Flue. 

.1.  Sprcr. 

_ 

i     ' 

1 



'  1 1  i  i 

( , 

1 

' 

TYPOGRAPHIA. 


215 


After  he  has  entered  into  the  press  book  an  account  of  the 
paper  intended  to  be  wet,  he  sets  down  the  same  articles  with 
the  numbers  and  date  in  a  book  called  the  Wetting  Book :  from 
this  book  the  warehouseman  receives  his  instructions  for  giving 
out  the  paper.  This  book  also  informs  him  of  the  quantity  of 
wet  paper,  and  the  length  of  time  it  has  been  wetted;  this  is 
of  importance  when  authors  sometimes  detain  proofs  so  long, 
that  the  paper  allotted  for  those  sheets  will  mildew,  if  it  be  not 
hung  up  to  dry  in  a  seasonable  time. 

In  addition  to  the  foregoing  tables,  we  shall  now  lay  bofor'^ 
our  readers  another,  equally  important  in  every  point  of  vi:'\v. 
whicn  we  shall  designate  Avith  the  title  of  the  Job  Bnok. 

Plan  of  the  Job  Book. 


6 
"a 
Q 

Compos.  Names. 

Sd 

o 

o. 

5 
o 
o 

m 

o 

S 
a 

s 

6 
£? 

a 

d 
Q 

05 

c 
.2 
o 

o 
U 

■6 
S 

a 

■c 

d 

-3 
O 

O. 

E 
o 

o 

Sizn  and 
Dcscripiioa. 

a 
o 

&> 

! 

5 

By  means  of  a  Job  Book,  an  Employer  or  Overseer  will  bc 
enabled,  at  a  single  glance,  (without  referring  to  the  bills  of  the 
(  ompositors  and  Pressmen,)  to  discover  not  only  every  chargp 
tluit  has  hern  made  upon  a  Job,  but  also  for  whom,  the  num 
(mt  priiilfd,  and  the  size  and  description,  together  u'illi  the  fuli 
'■u.irge. 

An  Overseer  sliould   lie  in  posspssion  of  a  th.ortn.igh   know 
Icdai!  of  every  braucli   of  his  jjroi'cssion.     It  not  uniVequonily 
ha|iuens    filluT  fnun  a  press  of  business,  or  tlie  absence  of  the 
r^'^idi-r.  that  htj  \n;w  ho  nec^.-siiatf-d  m  read  t''>r  press  :  he  s^hnnlii 
1  ■ 


21 G  TYPOGRAPHIA. 

make  it  his  study  to  qualify  himself  for  that  important  duty  :  to 
this  point  we  most  particularly  invite  his  earnest  attention,  and 
bf-g  to  refer  him  for  useful  hints  upon  this  subject,  to  Chapter 
VI.  p.  17G,  Sec.  ante.  And  should  he  conscientiously  sustain 
the  character  "which  we  have  laid  down  at  the  commencement  of 
this  article,  he  will  not  only  acquit  himself  with  credit  to  his  em- 
ployer, but  al::0  prove  by  his  conduct  that  he  is  an  ornament  to 
society  in  general.     ' 

Th'  man  who  aspires  to  this  high  station, 
Should  tor  his  guide  seek  moderation; 

And  justice  keep  in  view: 
But  few  there  are  who  reach  the  wisli'd  for  height, 
Tliat  justly  keep  strict  equity  in  siglit. 

And  render  each  his  due. 

To  the  Emplrjycr  too  much  court  is  paid. 
When  by  the  men  th'  entrapping  snares  arc  laid. 

To  catch  the  wary  eh': 
W'iio.  unsuspecting,  daily  plods  along. 
Nor  I'.ccds  tlie  snares  placed  by  the  wily  throng, 

To  entrap  his  noble  self. 

Tlie  btiljble.  thus  kept  up  in  air  so  long, 
Thro"  llat!erii;g  talc?  and  fulsome  tongue. 

liy  schemes  at  length  is  burst : 
His  office  lust,  he  tlien  most  deeply  wails. 
To  hide  his  shtmie  he  now  invents  new  tale.^, 

And  deems  liis  lot  most  curst. 

A  wariiinj'  this,  for  those  who  dare  aspire. 

When  in  this  birth  to  ra'se  liiemselves  much  higher, 

And  liiiiik  't  \\\ll  last  I'.jr  iite  ; 
.■"^iirn.'d  they  but  once  o'ers"'  p  the  comp;iss  b^ound, 
The;r  tolly  IjrinL's  ilieni  r|ii!ckly  to  the  ground, 

'I'o  end  tlii-ir  davs  in  sirite. 


Ki'LE.^  AM)  n]':(';ri.AT!o.\.=>  it)  i;k  nc.-Kii\T:r)  in 

A   rHL\T[\f^()FFlCi:. 

1.   (  Viinjr-ii'ir''  tn   firrlvf  tinir   r;is.' s   I'ri  tn   tiif  Over-<  or.  m 
'.  'h'-r  pcr-.f  I;^  lipi'.^'int'  d  ]■;'  ii'in.  !>'■'■  fr^in  nil  pi.  nr  ritbf-r  hetorn- 

!'■  t'.i  •■'!-  1:1  ifo!-.   A\il;i   (b  ;i;i    fjliadnit    im  I    -[:nr(-  h-ivos.  ]„  til   Yin 

i:;;!:i  all''  '':ilb'.  A'  'ii  i,  t!  I'y  aft  i  n  "1  n  tf.  him  in  'b"  sinuf  stalf. 
■J.   ~V\'i.i  II  ;i  !■    I..'  1  -i"'  r  r'  '■'  r  ■  -  !'  'I.  !■.  |';:rn!ii;r<-.  ^c.  Im-iii  !;:;- 
^)\"<r^''ir.   !io  i-  u-.  r<iiirii  v/but    i;o   (!:,(-   tint    ii-<  .    m  ih'   sajM*" 
biatf-  h-"-  r'"-'-'i\  ■  d  r .  '!:<•    ."..■    ■■ 


TYPOGRAPHIA.  217 

'A  ("ompositors  to  impose  their  matter  when  desired  by  the 
Rmployer  or  Overseerj  also  to  correct  proofs,  unless  in  either 
case  it  shall  appear  that  all  the  stones  were  engaged,  in  which 
case  he  should  seize  the  first  opportunity. 

4.  The  proofs  when  pulled  to  be  given  to  the  reader,  or 
carried  into  the  reading  closet,  with,  if  a  first  proof,  the  copy, 
and,  if  a  second,  the  foul  proof. 

;").  CoDipusiiors  not  to  leave  a  foul  stone,  either  of  letter  or 
furnititre. 

G.  A  conipositor  is  not  to  detain  an  imposing  stone  longer 
ihnn  the  nature  of  the  business  may  require. 

7.  Wlu-ii  any  cases  are  taken  out  of  tlie  racks,  the  com  • 
[lositor  is  to  return  ihem  into  tlie  proper  place  immediately  after 
he  lias  done  Avith  the  same. 

8.  I\'o  cases  to  be  placed  over  otliers.  or  under  the  frames. 

9.  Galleys,  with  head-lines,  or  other  useful  materials,  used 
during  the  course  of  a  piece  of  work,  to  be  cleared  the  day  after 
the  work  is  all  completely  at  press. 

10.  When  a  work  is  completely  finished,  the  compositor  or 
compositors  concerned,  shall,  before  he  or  they  begin  another 
work,  unless  prevented  by  the  Employer  or  Overseer,  clear 
away  the  forms,  taking  from  them  the  head  lines,  white  [ines, 
direction  lines,  as  also  the  leads  and  riglets:  which,  with  the 
furniture  of  each  sheet,  and  the  matter  properly  tied  up  for 
papering,  are  to  be  given  to  the  Overseer. 

11.  Sweepings  of  frames  to  be  cleared  away  before  one 
o'clock  every  day.  Matter  broken  by  accident  to  be  cleared 
away  on  the  same  day. 

I  "2.  The  saw,  sav.'-block,  bowl,  sponge,  letter-brush,  shears, 
bellows,  &c.,  to  be  returned  to  tlieir  respective  places  as  sot)n 
as  done  with. 

10.  That  pi  of  any  sort,  on  boards,  windows,  frauK^^^.  ^c 
shall  be  cleared  after  fiv(>  minutes'  notice. 

11.  No  person  shall  take  sorts  from  the  frames  or  cases  of 
another  without  leave,  nor  lioard  useful  sorts,  not  wanting  or 
Ida-ly  to  want  them. 

15.  ('ompositors  (>m])loved  by  the  week,  to  work  not  less 
'ban  ten  hour^  per  day. 


218 


TYPOGRAPIIIA. 


THE  BEST  MEAXS  OF  EXPEDITIXG  WORKS  OF    A 
TEMPORARY  AXD  URGENT  NATURE. 


A  judicious  distribution  of  the  employment  of  workmen  in 
every  kind  of  business,  is  the  only  means  of  expediting  it. 
This  observation  applies  very  forcibly  to  the  printing  business. 
Pamphlets  and  other  works  of  a  temporary  nature,  it  is  some- 
times necessary  to  print  in  the  course  of  a  few  hours;  to  ac- 
complish this,  the  utmost  exertion,  accompanied  with  skilfui 
management,  is  requisite;  we  shall,  therefore,  lay  down  a  plan 
which  we  conceive  will  be  found  fully  to  answer  this  purpose. 

As  soon  as  a  work  of  this  nature  is  put  in  hand,  it  must  be 
the  business  of  the  Overseer  to  select  such  men  as  are  able  to 
complete  the  gre^atest  quantity  of  work  in  a  2:iven  time.  We 
will  suppose  eight  rnen  are  ordered  to  distribute  letter  for  it. 
Their  first  concern  must  be,  to  appoint  one  fiorn  among  them 
who  thoroughly  understands  his  business,  and  is  in  other 
respects  qualified  to  undertake  the  management  of  the  work,  to 
make  it  up,  and  to  do  every  tiling  which  interferes  with  the 
regular  business  of  distributing,  composing,  and  correcting. 

Having  done  tliis,  let  thf  in  proceed  to  the  distribution  of  tlur'ir 
letter;  while  the  clicker,  or  person  appointed  to  manage  the  job, 
upplies  to  the  Overseer  for  the  copy,  receis-es  instructions 
respecting  it,  and  procures  leads  and  every  other  necessary  sort. 
He  then  draws  out  tlie  following  tabl<': 


,-,               .         .   ,,                  I-  ol'.ris  ,,i 
LoiTipo.=Uors    !Sriincs.  i       (•   ^,. 

Coinjjos'ii, 

1 

1 

\n  t!if  first  column  In-  sit-^  down  the  name  of  each  r-im- 
pi,i';it(jr  when  he  takes  copy  :  ai'.d.  in  tup  s<-cond,  the  folio  of  the 
cupv.  that  \i<^  mav  ho  al,lf  t-  a--rf-rtain  instantly  in  whose  iiands 
it  lies      In  tiif-  t'aird  '"■,-, linnri  Ke  notrs  d-iwn  tlic  numb^^r  of  liaes. 


TYPOCillAPEIIA.  219 

each  man  has  coinposcd,  opposite  to  his  naine,  as  last  as  tlie 
gallics  are  brought  to  him.  In  the  i'ourth,  he  sets  down  such 
remarks  respecting  the  copy,  &c.  as  may  be  necessary,  and  also 
any  circumstance  that  may  occur  in  the  companionship. 

Uy  this  means  each  compositor  will  recei\-e  a  share  of  the 
amount,  according  to  the  number  of  hues  he  composes,  and  the 
elifker  must  iiave  an  equal  share  with  the  person  who  sets  the 
gnaicsf  (iuantity:  or  it  may  be  done  by  limiting  the  quantity 
each  man  is  to  com;)use  in  an  hour:  whoever  is  deficient  in  this 
quantity,  must  suH'er  a  proportionate  deduction  from  his  share 
of  t!ie  work. 

When  the  members  of  the  companionship  are  ready  for  their 
first  taking  of  copy,  they  are  to  receive  it  from  the  clicker  in 
jjieces  as  short  as  possible,  taking  care  that  the  two  first  have 
shorter  takings  than  either  of  the  others,  to  prevent,  as  much 
as  possible,  anv  delay  in  the  making  up.  During  the  lime  the 
first  taking  is  in  hand,  the  clicker  sets  the  half-head,  head  lines, 
white  lines,  and  signature  lines,  together  with  side  notes,  and 
other  extraneous  matter. 

As  soon  as  the  first  person  brings  liim  his  matter,  he  counts  off 
the  number  of  lines,  and  inserts  them  in  the  table j  then  gives 
him  another  taking  of  copy,  and  proceeds  with  the  making  up. 
The  same  plan   is  observed  with  tiie  rest  of  the  companionshij). 

AVhcn  the  first  sheet  is  made  up,  he  lays  the  ])ages  on  the 
stone,  and  informs  the  Overseer  of  it,  who  will  tlien  immedi- 
atejv  pmcure  chases  and  furniture. 

The  work  will  nov/  proceed  rapidly,  provided  the  composi- 
tors stick  close  to  their  business,  and  there  be  no  liindranci' 
with  respect  to  letter.  Sc".,  which  depends  on  the  good  nianagc- 
ment  of  the  Overseer.  If  the  clicker  finds  tiiat  he  cannot  make 
up  the  mntter  as  fist  as  it  i-^  composed,  h(^  shouhl  call  one  of  the 
compositors  to  his  assistance,  wlio  must  be  the  person  last  in 
C(.p\".  In  this  casr>  he  counts  the  lines  he  has  composed,  sets 
them  down  in  the  table,  and  takes  notice  of  the  time  he  is  ofi', 
which  is  to  be  nueie  up  to  him  by  a  deduction  from  the  shan- 
of  eacli  persi.in. 

I'he  proof's  should  be  read  immediately  after  ll\ev  are  pull(-d, 
and  given  i"  the  f^lielcer  to  1)(^  corrected.   As  soon  as  this  is  done. 


2-2U  TYPOGRAPHIA. 

he  lays  up  llie  f'onas,  and  gives  the  proof  to  the  compositor 
whose  matter  stands  first,  who  should  inamediately  correct  it,  then 
forward  it  to  the  next,  and  so  on,  till  the  sheet  be  corrected ;  the 
clicker  then  locks  it  up,  and  carries  the  forms  to  the  proof-press 

As  soon  as  one  of  the  companionship  is  out  of  copv,  and 
there  is  no  more  to  be  given  out,  the  lines  of  the  whole  must  be 
counted  off,  and  set  down  in  the  table,  which  closes  the  account, 
and  then  every  one  does  as  much  as  he  can  for  the  general 
benefit.  If  there  be  not  work  enough  to  employ  the  whole, 
those  who  are  not  wanted  may  go  to  their  regular  work,  and 
the  time  of  their  absence,  till  the  rest  of  the  companionship 
return  to  theirs,  be  deducted  from  their  respective  shares. 

It  would  save  time  in  makina:  calculations,  could  the  com- 
panionship agree  to  divide  the  amount  of  the  bill  between  them 
in  equal  proportions,  and  merely  fine  those  who  absent  them- 
selves from  the  office;  but  as  some  compositors  will  set  con- 
siderablv  more  than  others,  the  above  mode  will,  we  conceive, 
be  found  to  answer  best,  as  it  excites  a  spirit  of  emulation,  and 
induces  them  to  pursue  th^ir  w(.)rk  with  vigor. 


RULES  TO  BE  OBSERVED  L\  COMPAMOXSIIIP. 

The  disputes  wliich  frequently  arise  in  a  printing-otTice  upon 
trifling;  ns  well  as  intricate  points,  can  only  be  settled  by  a 
r'Tirenre  to  thf  gi'iieral  custom  and  usage  of  the  trade.  These 
niisuiidcr^taiidina's.  wlii^'h  annov  and  retard  bu'^iness,  often 
take  ]>l,ice  in  companion^liips  consisting:  of  tliree  or  four  com- 
l>':^it.)r:- :  it  is  therel'iTe  hi:zhlv  desirable  that  the  o-enr-rally 
n-ri-ived  rules  and  re^-ulatinns  'iii  this  subject,  siiould  !;e  t-\ 
l)bi,Mtlv  and  clt  arlv  laid  down  for  the  future  comlbrt  and  goverii- 
nicnl  of  lii>'  (••'nip. '-it'  ir. 


']•.\Kl^(;  (T)PY. 


CTfi 


If   printed   ccpv.   and   tiie  <  unqN'-itor  is  de«ired  to  follow  pa 
fur  jjaire,   ea.-h  sheet,  as  it  i^;  nJven  out,   siiould   be  divided  into 
as  inanv  part-   as  the  ecuipaiiion^liip  ma\-  cunsist  of,  in  which 


TYPOGRAPHIA.  221 

case  the  bulk  of  the  copy  must  not  be  subject  to  the  inspection 
of  the  companionship,  but  kept  by  the  Overseer,  and  dealt  out 
by  him  as  it  is  wanted,  or  it  will  inevitably  cause  contention; 
for  the  compositor  likely  to  be  first  out  of  copy,  if  he  has  free 
access  to  that  which  remains  unfinished,  will  observe  whether 
the  next  taking  be  fat  or  lean — if  the  latter,  he  will  hold  back 
and  loiter  away  his  time,  in  order  to  avoid  it,  and  thus  mate- 
rially delay  the  work.  On  the  other  hand,  if  this  taking  appears 
to  be  advantageous,  and  there  should  happen  to  be  two  or  three 
of  the  companionship  out  of  copy  at  the  same  time,  a  sort  of 
scramble  will  take  place  who  shall  have  it,  which  will  end  in 
dispute  and  confusion  :  on  no  account,  therefore,  should  the 
copy  be  open  to  examination.  If  the  copy  be  manuscript,  or 
not  page  for  page,  the  Overseer  should  give  it  out  in  such  por- 
tions as  will,  in  his  judgment,  insure  regularity  in  the  progress 
of  the  work;  and  should,  in  all  cases,  mark  the  name  of  the 
compositor  in  the  margin,  opposite  the  paragraph  where  he  is 
to  commence.  Compositors  are  apt  to  desire  a  large  portion  of 
copy,  with  the  view  of  advantage  in  the  making  up,  though 
nine  times  in  ten  it  will,  as  before  observed,  operate  as  a  loss  to 
them,  by  their  eventually  standing  still  for  want  of  letter.  If  by 
mistake  too  much  copy  has  been  taken,  the  compositor  should 
hand  a  part  of  it  to  the  person  next  in  the  making  up,  to  set  up 
to  himself. 

If  parts  of  llie  copy  should  be  particularlv  advantageous  or 
otherwise,  each  of  the  companionship  may  throw  for  the  chance 
of  it:  the  person  to  whom  it  may  fall,  if  he  have  copy  in  hand, 
must  turn  that  copy  over  to  him  who  is  about  to  receive  more 
copy;  but  for  trilling  variations  from  the  general  stale  of  the 
copy,  it  cannot  be  worth  the  loss  of  time  necessarv  to  contest 
it:  though  it  frequently  happens  that  a  litigious  man  will  argue 
half  an  hour  on  a  point  that  would  nut  have  made  five  minutes' 
(litTtTence  to  him  in  the  course  of  his  da\'s  work. 

If  one  of  the  companionship  absents  himself  from  business, 
and  thereby  delays  the  making  up,  and  there  is  the  smallevt 
probability  of  staiidincr  still  for  want  of  lettiT,  tlie  jierson  who 
has  the  la^-t  tnkiiio-  \n\\<{  o-,,  un  wilii  ihi';  in;ni'>;  eopv,  wliether 
it  be  ijood  or  hah 


222  TVPOCaiAPIIIA. 

MAKING  UP. 

TiiE  compositor  having  the  first  lake  on  the  work,  as  soon  as 
he  has  completed  it,  proceeds  wiliiout  delay  to  making  up  his 
matter  into  pages,  according  to  the  directions  laid  down  in  our 
observations  on  composing.  Having  completed  as  many  pages 
as  his  matter  will  make,  he  passes  the  over[)lus,  it  less  tlian 
halt' a  page,  with  the  correct  head  and  folio,  to  the  compositor 
whose  matter  follows  his,  at  the  same  time  taking  an  account 
(;f  tlie  number  of  lines  loaned;  if,  on  the  contrary,  the  overplus 
makes  lU'jre  than  half  a  page,  he  borrows  a  suflicient  number 
of  lines  to  complete  his  page,  each  compositor  keeping  an  ae- 
count  ot'  the  number  of  lines  borrowed  and  loaned.  His  last 
page  being  completed,  he  passes  the  make  up  to  the  comjjosilor 
next  in  succession,  by  handing  him  the  proper  head  lines  and 
folio  for  the  following  page;  each  compositor  passing  the  make 
up  in  like  tnanner  without  delay. 


AIAKIN'G  UP  OF  LETTER. 

Tup:  number  of  the  companionship,  if  possible,  slioukl  alwavs 
be  (jeicrmined  (jM  at  tin'  commencement  of  the  work,  that  t'ui-\ 
may  all  i,)roceed  upon  an  equal  footing.  It  should  be  well  ascer- 
tained that  the  letter  appropriated  for  the  work  will  be  adt'ipiate 
to  kt-ej)  the  persons  on  it  fully  employed. 

II' any  part  ol'tlie  rnatu-r  fur  di>trii)Ution,  whether  in  rha-^e  or 
ui  jjaper,  b<'  dfsirablc  (jr  otherwise,  f(jr  the  sorts  it  mav  ''oiitain. 
It  ^iiuuld  Ijt!  dividid  Mjually,  or  ihf  choice  ot' it  thrown  fir. 

W'lien  a  IK  w  (■om[);uu<jn  is  j)ut  on  the-  work  after  the  re'-pci- 
ti\f  siiari'S   of  \flUT  are    madi'   up,  and    if  liicre  bf  nut  a  -uiii- 
ci.-iic}'  to    carry  on    all   the  ci/mpanion^iiip  \vitiinut   makini:   up 
niiirc,  h«'  nm-t  make  up  an  tuflitional  (piantitv  bi'fore  jir-  e:ui  'u  ■ 
a!lowi_'d  to  [jartalo'  ot'aiiy  jiarl  ot'iiiat  wiiicli  cumo  from  the  jir^'.-^. 


MAKlXr;  up  FUll.XITUllE. 
T'.".  o  o!'  till'  cuinpauifjii-liii)  wiiu  inay  liavi'  the  greatest  propor- 
tii'U    i)'.'  til'-    hr-i   >iif->-t,  should   make   up  tin-   furnitun- lijr  tli:!t 
ihei-t  :    iiiel    tiiMULrJi  it  iiiMv  '"■    tiiMU^-iit    thai  a  di-ad\-a:ita:/e  wil' 


TYPOGRAF^HFA.  223 

be  I'elt  in  milking  up  the  first  sheet,  they  liaving  to  ascertain  the 
right  margin,  yet,  properly  considered,  this  disadvantage  is 
sufficiently  balanced  by  their  not  being  likely  to  meet  with  a 
scarcity  of  furniture,  which  will  frequently  occur  after  several 
sheets  are  made  up.  The  other  companions  in  rotation,  as 
their  matter  is  made  up,  will  take  an  equal  share  of  the  furni- 
ture. Should  an  odd  sheet  be  wanted,  it  will  be  better  to  throw 
for  the  chance  of  making  it  up. 


IMPOSING  AND  DISTRIBUTING  LETTER. 

The  person  to  whose  turn  it  falls  to  impose,  must  lay  up  the 
form  for  distribution;  but  as  continual  disputes  arise  on  this 
subject,  and  as  it  can  only  be  ascertained  by  comparing  the 
number  of  pages  composed,  with  the  number  put  in  chase  by 
each  person,  we  therefore  recommend  their  keeping  an  exact 
account  of  these  pages,  which  had  better  be  done  agreeably  to 
the  following 

Plan  of  an  Imposition  Book. 


1 

X 

F'rost's  United  States. 

By  whom 
imposed. 

Jones. 
Reiter. 

'3 

s 

B 
C 

5 

2 

2 

3 

1  Jones. 

2     \      3 

5 

2 

1  Stille. 

D 

1             1 

1             1 

!■; 

1 

F 

1 

This  book  should  always  be  kept  in  a  convenient  place,  so 
that  each  compositor  may  mark  down  the  number  of  pages  he 
has  made  up,  opposite  to  the  proper  signature,  and  under  his 
own  name;  also  when  he  imposes,    he  inserts  his  name  in  the 


^/^i  ^1"VP()(;IJA1>I1L\. 

column  apprtjpriutfd  tor  ihrit  purpose.  l]y  lullowing  slru^tly 
tills  iiKjdt",  eviTV  sort  (jf  disputo  will  he  prevented;  and  ihougli 
a  private  account  may  be  necessary  for  individual  satisfaction, 
yet  it  will  not  avail  in  settling  a  general  misunderstanding,  as 
the  various  private  accounts  may  dill'er,  and  the  charge  of  inac- 
curacy may  be  alleged  with  as  much  reason  against  one  as  the 
other;  but  in  this  general  scale  a  mistake  can  be  immediately 
detected.  It  alx)  opf'rati-s  as  a  check  on  those  who  may  be  in- 
clined to  write  out  of  their  proper  signature,  or  to  cliarge  more 
pages  than  they  have  imposed. 

As  the  letter  is  laid  up,  it  sIkjuLI  ho  divided  m  equal  propor- 
tions; and,  if  it  can  be  so  managed,  each  pers(jn  had  better 
distribute  the  mutter  originally  composed  by  him ;  t'or  by  this 
<neans,  the  sorts  whicit  have  made  his  case  uneven  will  again 
return  to  him.  It  may  happen,  from  one  of  the  companionship 
absenting  himself,  that  his  former  share  of  letter  remains  undis- 
tiibutcd  at  a  time  a  second  division  is  taking  place;  under  these 
cin'umstanc(-s,  he  must  not  be  included  in  this  division.  In  the 
event  (jf  a  scarcity  of  letter,  if  any  man  absent  himself  beyond  a 
reasonabli'  time,  his  undistributed  matter  should  be  divided 
equally  among  his  companions,  and  A\'hen  he  returns,  he  may 
then  have  his  shar(.'  of  the  next  division. 


rORP.KCTLXCi. 

Ttik  compositor,  wliose  matter  is  in  the  first  part  of  the  proof, 
lav^  up  the  forms  on  the  impo^ina'  stoiH'.  and  corr-'cts.  II.' 
iluii  hands  ih,<'  proof  to  ihc  person  who  has  the  fcjllowinfj  uiai 
ic-r.  'I'll!'  (■(iiiipiisiior  who  correc!-  tli.-  last  part  of  the  ^ln'i-i, 
li  ii'k'-  u[)  liic  t.  a'liis. 

Till'  eiiiiij)' i<li.ir  iKU'iiiix  maUcr  in  llu'  first  and  last  part,  but 
H"!  ih"  ii;i;!dli'  nf  lie'  .-In-ft,  onh"  lavs  up  thi'  form  and  corrects 
hi-;  iiKiticr:  lie-  forking  up  is  hit  t'.;  the  j;i:rs(iii  wiio  cijrrccts 
la-!  ill  lie-  -;M-ct. 

A  coiiipi  siiiir  ha\'iiia''  the  lir^t  page  only  of  the  sheet,  is  re- 
(piircd  to  lav  up  one  I'oiaii;  also  to  loi'K'  up  one  form  if  he  has 
oiih    the  la-t  iiaije. 


TVPOGRAPPILV.  2:25 

If  iroMi  carelessness  iii  locking  up  the  forin,  viz.  the  turniture 
binding-,  the  quoins  badly  fitted,  Sec. — any  letters,  or  even  a  page 
should  fall  out,  the  person  who  thus  Ljcked  up  the  form  must 
immediatf'ly  repair  the  damage.  But  if  from  bad  justification, 
or  in  leaded  uiatter  the  letters  ride  upon  the  ends  of  the  leads, 
the  loss  attending  any  accident  from  this  circumstance,  must 
fall  upon  the  person  to  whom  the  matter  belongs. 

ft  is  the  business  of  the  person  who  locks  up  the  form,  to 
ascertain  v.-heth-r  all  the  pages  are  of  an  equal  length;  and 
tliough  a  detect  in  this  respect  is  highly  reprehensible  in  the 
person  to  whom  it  attaches,  (whose  duty  it  is  to  rectify  it.)  yet 
if  not  jjreviously  discovered  by  the  locker-up,  and  an  accident 
happen,  he  must  make  good  the  defect. 

The  compositor  who  imposes  a  sheet,  must  correct  the 
chargeable  proof  of  that  sheet,  Avhich  is  also  generally  at  tlie 
same  time  corrected  for  press,  and  take  it  to  the  ready  place. 
He  nuist  also  rectify  any  defect  in  the  register,  arising  from 
want  of  accuracy  in  the  furniture. 

Forms  will  sometimes  remain  a  considerable  length  of  time 
before  they  aie  put  to  press.  "When  thi<  happen^,  and  par- 
ticularly in  the  summer,  the  furniture  is  likely  to  shrink,  and 
the  pages  will,  in  consequence,  if  care  be  not  taken,  fal!  out:  ii 
is  therefore  the  business  of  the  person  who  has  locked  up  the 
form,  to  attend  to  it  in  this  respect,  or  he  will  be  subject  to 
make  good  any  accident  which  his  neglect  mav  occasion. 

The  liability  to  accidents  of  tliis  nature  lias  been  greailv 
lessened  by  recent  improvements,  viz.  the  introduction  nt' metal 
furniture  and  quoins;  the  former  we  have  previouslv  alluded 
to— the  latter  is  of  recent  invention,  and  has  not  vet  been  oiTered 
to  the  trade.  The  Iron  Screw  Q,uoin  was  invented  by  ]\Ir.  E. 
M.  Maeder,  of  Pliiladelphia,  and  consists  of  a  screw  working; 
into  a  s(p.iare  iron  shoulder  about  two  indies  in  length,  and  about 
half  an  inch  in  thickness,  whi(di  is  placed  against  a  sitie  sti^k 
without  Ijevel,  the  pointed  head  of  the  screw  bearins:  a^'ain^t 
tiie  inner  side  of  t!ie  chase; — bv  applying  a  small  r;ick  to  lli  ■ 
coo'Cred  head  oi'  the  scri-'W,  the  [ovm  can  be  n.iidv'd  or  serewfj 
up  to  anv  degree  of  tightness  without  n^u-^".  and  wiih  hut  litili> 
exertion  on  the  part  oi"  the  compositor,  and  having  at  len^t  half 


226  TYPOGRAPHIA. 

an  inch  play,  will  seldom  require  to  be  changed.  From  our 
knowledge  of  the  advantages  of  these  quoins,  we  unhesitatingly 
recommend  them   to    the   favorable  notice    of  the    profession. 

"When  forms  are  wrought  off,  and  ordered  to  be  kept  stand- 
ing, they  are  then  considered  under  the  care  of  the  Overseer. 
When  they  are  desired  to  be  cleared  away,  it  is  done  in  equal 
j)roportions  by  the  companionship.  During  the  time  any  forms 
may  have  remained  under  the  care  of  the  Overseer,  should 
there  have  been  any  alteration  as  to  form  or  substance,  such 
alterations  not  having  been  made  by  the  original  compositors, 
they  are  not  subject  to  clear  away  those  parts  of  the  l''orm  that 
were  altered.  If  the  pressmen  unlock  a  form  on  the  press,  and 
Irom  carelessness  in  the  locking  up,  any  part  of  it  foil  out,  thev 
are  subject  to  the  loss  that  may  happen  in  consequence. 

The  compositor  who  locks  up  a  sheet,  takes  it  to  the  proof 
press,  and  after  he  has  pulled  a  proof  of  it,  hands  it,  together 
with  the  foul  proof,  to  the  reader,  and  deposits  the  form  in  a 
place  appointed  for  that  purpose. 


TRAXSPOSITIO.N  OF  PAGE.S, 

Each  person  in  the  companionship  must  lay  down  his  pages 
properlv  on  the  stone  for  imposition.  The  compositor,  whosp 
turn  it  IS  to  impose.  looks  them  over  to  sec  if  tiiey  are  rightly 
placed;  should  thf^v,  after  this  examination,  lay  improperly, 
and  be  tluis  impoi^ed.  it  will  b^  his  business  tn  transpose  them, 
but  slmiild  tlip  fiijii.is  bp  wroncr.  and  the  mi.^take  ari'^p  from  thi- 
innrcuracv.  it  tiii!-t  !■•'  r(  rliliiil  bv  tho  pfr<"n  to  wlmm  tli'^  mat 
lor  beloii^^.  Pagfs  bein:j-  laid  down  lor  imposition.  Withou' 
fulios  vv  head  lin'-,  must  be  rectitied  by  th*-'  pfr-on  who  has 
b''cn  >!ov(nlv  fiiougb  tu  aJupt  thi<  plan. 


CHAPTER   Vlll. 

THE    PRESS. 


FioMi  thee,  O  Press  1   what  blessings  flow 
1"  unworthy  nicjrtals  liere  below  I 

Life's  path  to  smooth  : 
The  Widow's  cause,  the  Infant's  tear, 
I.ii  thco  a  friend  are  sure  to  rear  ; 

"^I'heir  loss  to  sooih. 

Through  thee,  fair  Liberty  will  stand. 
The  proudest  boast  throughout  this  land  ; 

See  Hist'ry's  page  ! 
'['he  Press  enslav'd,  she'll  inly  moan, 
And  freedom's  sons  in  chains  may  groan, 

From  age  to  age. 


However  laudable  it  may  be  to  cultivate  the  art  to  perfection, 
it  IS  to  its  comiuon  and  more  general  application  that  we  are  to 
look  for  its  grent  and  beneficial  efTects  upon  the  human  iutelloct, 
and  upon  nations  and  societies  of  men.  The  Press  is  the  great 
engine  by  whicii  man  is  enabled  to  improve  the  faculties  of  his 
nature;  it  is  the  preserver  of  the  knowledge  and  acquirements 
of  former  generations,  and  the  great  barrier,  when  not  perverted 
bv  the  hand  of  power,  against  the  debasement  of  the  human 
mind,  and  the  equalizing  eflects  of  despotism. 

In  the  accomplishment  of  what  we  have  here  undertaken,  we 
shall  stricilv  adhere  to  those  rules  which  experience  and  obser- 
vation have  enabled  us  to  sel.'ct  for  our  o'uidance,  and  which, 
we  ft'el  per-^uaded.  are  in  accordance  with  t'nf  advanced  state 
of  i\i\<  impnrttuit  bratK'h  of  the  art,  a  branch  wliicli  is  the  verv 
end  and  consiiinniation  of  ali  the  coiujiositor's  prc.ious  carr^ 
iuid  labor — a  hrancli  wlii'-h.  if  in  the  least  dejrep  nei^Ir-cipd,  will 
cause  all  his  U\<ir  and  skill  in  cninpnsition.  and  ili'''  emplovcr's 
expense''  in  ii!;i;;tit'ul  ivpc.  to  b.-  pa-s-'-d  nv(r  di-r'-';:ard<-d. 


228  TYPOGRAPHIA. 

In  former  works  upon  this  subject  the  directions  to  Pressmen 
have  been  found  to  be  quite  inadequate^  being  in  a  great 
measure  confined  to  the  two-pull  Press,  and  to  the  minutias  of 
bails,  beating,  kc.  The  various  improvements  in  the  art  since 
those  directions  were  written,  have  rendered  them  entirely 
obsolete,  and  it  therefore  devolves  upon  us  to  offer  such  new 
directions  as  will  suffice  to  acquaint  the  beginner  with  the  pecu- 
liarities of  modern  press-work. 

Industrious  and  careful  pressmen  must  stand  high  in  the 
estunation  of  every  master  printer,  yet  it  is  to  be  lamented  that 
so  few  endeavor  to  merit  so  desirable  an  appellation,  and  one  so 
easily  acquired  by  a  little  care  and  attention. 

We  shall  nt;v,'  lay  dov.ui  a  few  directions,  which,  if  properly 
attended  to,  will  enable  the  pressman  to  execute  his  work  in  a 
manner  that  will  do  credit  to  hims(df  and  justice  to  his  employer. 


SETTING  UP  A  PRESS. 
I'nder   this   head    miglit   be   introduced    an    almost   unhmif^d 
varietv  of  operations,    vet  it    is   our   intention   here   to   confine 
nursf'lves  to  a  few  remarks  upon  putting  up  tliose  hand  presses 
now  in  creneral  u-e. 

Ilavincr  plaf-ed  our  frame  in  an  erect  position  upon  its  feet, 
v.-e  nf.xt  place  the  ribs  in  their  allotted  situation,  where  they  are 
fastcnf-'d  bv  m^ans  of  scrrnvs.  and  the  stay  put  und"r  the  near 
end:  we  th-'-n  lil'l  th'^  b<.'d  into  the  ribs,  and  comm'-nce  nailing 
th<'  srirtii';  in  thc'ir  prip^n-  placi'S  u[)on  the  barnd  of  the  rouncf. 
ait'T  v,-hii-h  tii.'V  ;;re  secured  at  th'*'  end  of  the  bi-d  ;  when  tlie 
press  is  run  out.  the  double  2'irti!-^  should  bo  about  half  a  turn 
or  m'lre  round  the  barrel:  the  ofl' sin:ile  girtli  ab^aU  two  or  throp 
turn';  r<iunil  u.  Tho  position  of  the  roiince  wlien  runout  siiould 
inohri"  a  liltio  f'lrv.Tird  (,if  a  porpciidicular  lino,  and  whon  ruii  in. 
a  littl-  above  ;i  i.orizr'Otal  lino  on  tlio  noar  side:  to  accomplish 
whicii  it  mav  bo  necos^ary  to  loosen  the  girths  at  oil"  end  of  the 
b-'ii.  and  to  draw  tliom  up  at  tiio  oth<:-r.  W'o  ihon  commence 
f'Volling  our  b"d.  wiii'di  should  lio  done  v:n\\  a  '-piritdovel  if 
c'invoiiii'iit.  if  n(>t.  ;m  ordinary  caipontor<"  lovel.  rai-^ing  eitUrr 
end  ot"  tiio  pro<s  by  -uia'l  blocks  or  wedges  undor  tlu'  feet,  or 
fore  stav.  a--  may  bo  roquir'^d. 


TYPOCRAPTTIA.  229 

Having  ascertained  our  bed  to  lie  truly  horizontal,  and  having 
placed  bearers  at  each  end,  upon  which  to  rest  the  platen,  we 
run  it  in  to  its  proper  pRice,  where  it  is  attached  to  the  suspend- 
ing rods  ;  being  careful  to  observe  that  the  marked  end  of  the 
platen  is  front,  and  that  the  marks  on  the  nuts  or  screws  cor- 
respond with  those  on  the  platen.  In  screwing  down  the 
springs  we  should  avoid  compressing  them  too  much,  as  it 
would  be  likeh'  to  weaken  them,  at  the  same  time  screwing 
them  sunicientlv  tight  to  hold  the  toggl''S  in  their  place,  and  to 
cause  the  platen  to  rise  quickly  after  an  impression  has  been 
given.  y\'e  also  take  notice  that  the  platen  falls  perfectly 
horizontal,  and  that  all  four  corners  touch  the  type  at  the  same 
time,  which  may  be  regulated  by  screwing  or  unscrewing  the 
nuts  at  either  corner,  and  inserting  between  them  and  the 
platen,  if  necessary,  a  piece  of  tin  or  rule. 

Tlie  levers,  toggles  and  oil  cups  bfing  well  oiled  in  their 
joints,  and  placed  in  their  respective  places,  we  then  proceed  to 

SETTI^X^  UP  THE  ROLLER  STAND. 

The  roller  stand  containing  the  distributing  cylinder,  should  be 
regulated  to  the  height  of  the  press,  bringing  the  shelf  or  bridge 
even  Avith  the  corner  irons,  and  of  sufficient  distance  from  the 
bed  to  allow  it  to  run  clear:  the  stand  should  then  be  firmly 
braced,  as  the  constant  turning  oi'  the  rouuce  is  very  apt  to 
loosen  it,  meanwhili'  being  cautioiis  to  (j})serv(^  that  the  rounce 
in  if;  revolutions  doe<;  not  come  in  contact  with  the  frame  of 
the  t\inp;in  when  up.  The  p(x';i;ion  ol'tiu-  distributing  c\linder 
should  \)(:  suflifii-ntly  liigli  tij  alfiw  the  two  composition  rolh-rs. 
at  h.-a^t  f.ni'  inch  apart,  to  rest  on  its  top  Aviliiout  danger  of 
touching  the  shflf  or  bridge  in  front:  we  hav(.'  found  it  advan 
tagcous  to  nail  two  narrow  strips  (jf  scjle  k'-alher  on  lh<,'  fai.'O  of 
the  •■hrjl'.  alioiit  eight  or  t.  n  inches  i'roin  eaeh  en;!,  wiiieh.  acting 
as  tieariTS.  caus<^  th<'  rollers  t(>  ])ass  verv  smoolhlv  ov(t  them. 

Tlie  ro'lier  handle  while  in  us(^  siioiild  lie  in  a  horizontal 
[M.wition.  tiie  'jack  end  beino:  supported  b\' a  bar  oi' wood  or  iron 
running  parallel  with  the-  distrihutinir  cvliiuler.  There  should 
tie  n  notrji.  (u-  liook.  about  two  iindies  from  the  f-nd  of  tl^e 
iirniilli.'  to  cnteh  riii  the  wooden  sujiporter.  to  [irevent  the  rollers 


230  TYPUGRAPITIA. 

I'roin  jumping  forward  wliile  distribuUng  or  changing.  It  is 
also  necessary  to  have  a  back-board  for  the  end  of  the  roller  to 
strike  against  in  coming  off  the  forn^  to  prevent  the  rollers 
from  falling  backwards. 

The  ink-block  is  placed  about  five  or  six  inches  to  the  right 
of  the  roller  handle^  and  about  on  a  level  with  h;  it  is  furnished 
with  the  ink  slice,  and  a  brayer,  or  a  small  roller  about  four  or 
five  inches  long,  and  of  the  same  circumference  with  the  large 
rollers,  being  cast  in  the  same  mould. 

A  few  years  since  a  great  improvement  was  effected  by  hav- 
ing the  ink-block  made  of  cast  ir<jn,  for  the  following  reason  : — 
it  had  been  found  necessary  for  the  purpose  of  enabling  the  men 
to  work  the  fine  and  stiff  inks  in  cold  weather,  to  have  in  the 
press  room  what  was  denominated  a  moveable  ink-stand;  this 
was  a  small  square  table,  with  an  iron  plate  for  the  top,  under 
which  was  a  shelf  to  contain  a  lamp  to  warm  the  ink,  and 
render  it  free  to  work;  tliis  was,  of  course,  moved  to  the  side  of 
each  press  as  wanted,  but  often  proved  a  cumbrous  article  in  a 
crowded  room,  when  not  wanted.  The  iron  ink-block,  with  a 
little  shelf  underneath  it,  answers  every  purpose  of  the  above 
described  apparatus,  with  this  additional  advantage  over  the 
wooden  one,  it  keeps  the  ink  cooler  in  hot  weatlier. 


COVERING  TYMPAXS. 

T)iF.  tvmpans  are  crmerallv  covered  with  parchment.  Tlvv 
should  be  of  rin  even  thickness,  and  about  two  inches  and  a 
half  wider,  and  tlin^e  iiudies  lonri'T  than  tlie  tympans.  Tvni 
pans  have  been  sometimes  coNered  Avitli  linen.  wlii(di,  ciji 
account  of  it';  evenni'S':.  would  an-wer  the  pur])ose:  but  it  is  so 
apt  to  stretch,  that  ilie  tvnipan>  Ijecoine  slack  in  a  '-hort  time, 
and  liag,  (a^^  h  i^  termed.)  w!ii(di  occasiems  ;i  ^-lur  on  the  work. 
Muslin  and  silk  have  been  used,  but  are  likewise  subject  to  the 
same  objection  a-^  linen.  Thev  are.  however,  still  used  for 
newspapers,  and  other  large  works,  where  parchment  cannot 
be  obtained  of  suflicient  dimensions. 


TYPOriRAPlIlA.  231 

Having  provided  soin.)  stiff  paste,  he  lays  so  much  of  it  on 
the  edges  of  the  skin,  as  will  cover  the  frame  of  the  tympan, 
wliich  is  also  well  pastfld.  He  then  lays  the  skin  on  the  inner 
side  of  the  frame,  with  the  flesh  side  to  face  the  type,  and 
draws  it  regularly,  as  tight  as  possible,  on  all  sides.  That  part 
of  the  skin  that  comes  on  the  grooves  of  the  tympan  which  re- 
ceives the  point-screws,  is  cut  and  wrapt  round  the  inside  edge 
of  the  groove,  wliich  admits  a  free  passage  for  the  screws. 
After  having  I'astened  the  skin  on  the  sides  of  the  tympan,  he 
draws  it  t(j wards  the  joints  which  receive  the  frisket,  and  with 
a  knife  cuts  across  th(^se  joints  to  let  them  through  the  skin;  he 
then  puts  the  frisket  pins  through  the  same,  and  makes  tha^ 
end  of  the  tympan  fast.  He  next  proceeds  to  the  lower  joints, 
and  brings  the  skin  as  tight  as  he  can  round  that  part  of  the 
tympan.  The  point-screws  and  duck-bill  are  then  put  on, 
which  pn'veni  the  skin  from  starting.  The  inner  tympan,  or 
drawer,  is  covered  in  the  same  manner.  To  prevent  their 
warping  when  the  skin  begins  to  draw,  pieces  of  furniture,  or 
wood  of  any  kind,  should  be  placed  across  the  centre  till  they 
are  perfectly  dry. 

The  skins  are  put  on  either  wet  or  dry;  if  dry,  they  should 
he  afterwards  well  wet,  which  makes  them  give  for  the  moment; 
l)ut  as  they  dry,  they  contract,  and  are  by  this  means  rendered 
mui-ii  tiirht(!r  tlian  they  would  be  if  put  on  wet. 


WErTI.XG  PAPER. 

1'apk!i  sliould  be  wet  in  a  Irougii  kept  for  the  purpose,  filled 
V'-jih  c!'>an  watt'r.  The  si/e  oi'tliis  trouii'ii  should  be  about  two 
iisi'hes  lonirer  and  wider  (when  folded.)  than  tlie  lariri'st  size.l 
pa|)pr  that  it  is  probable  will  have  to  lie  wei  in  it,  and  about  siv 
in^'!ii\«  ili'ep.  It  should  hav(^  a  cover  with  hinges  on  the  let 
si  i<',  that  the  C'lV'-r  may  fall  over  on  tliat  side,  and,  resting 
li'ni/,)ntally.  servi'  the  purpose  of  a  shelf  to  lav  the  paper  upon 
|"irt'\  ions  ti)  its  b-iiig  wet. 

!  laving    received    a    snthiMent    qnantitv  of   i)a[)''r    from   the 
WiirdiiMi'^i'nian.  (•>iiiiit''ii   mit,  tlie  pre-siunn    lays    one   heap  on 


232  TYPOGRAPIIIA 

the  shelf  attached  to  the  paper  trough,  laying  the  first  token 
across  the  heap  with  the  back  of  the  quires  towards  his  right 
hand,  that  he  may  know  when  to  turn  the  token  sheet,  and  that 
he  may  the  readier  catch  at  the  back  of  each  quire  with  that 
hand,  for  the  purpose  of  dipping  it.  He  then  places  his  paper- 
board  with  its  breadth  before  him  on  his  right,  usually  on  the 
ley  trougli,  laying  a  wrapper,  or  a  waste  sheet  of  paper  on  the 
board,  that  it  may  not  soil  the  first  sheet  of  the  heap. 

He  then  takes  a  quire  by  the  centre  of  the  back  with  his  right 
hand,  and  the  edge  of  it  in  his  left,  and  closing  his  hands  a 
little,  that  the  quire  may  bend  downward  between  his  hands, 
he  dips  the  back  of  the  quire  into  the  left  hand  side  of  the 
trougli,  and  relinquishing  his  hold  with  the  left  hand,  draws 
tlie  quire  briskly  through  the  water  with  his  right;  as  the  quire 
comes  out,  he  quickly  catches  the  edge  of  it  again  in  his  left 
hand,  and  brings  it  to  the  heap;  and  by  lifting  up  his  left  hand, 
bears  the  under  side  of  the  quire  off  the  paper  previously  laid 
down,  til!  he  has  placed  the  quire  in  an  even  position.  But 
this  drawing  the  quire  through  the  water  he  performs  either 
(luick  or  slow;  if  the  paper  be  weak  and  spongy,  he  performs 
it  quickly:  if  strong  and  stubborn,  slowly.  To  place  the  quire 
in  an  even  position,  he  lays  the  back  of  it  extictly  upon  the 
open  crease  of  the  iurnier,  and  then  lets  the  side  of  the  quire  in 
iiis  left  liniid  fall  flat  down  upon  ike  heap,  and  discharging  his 
right  hand,  briuirs  it  to  the  edce  of  the  quire,  and  with  the 
assistanc(>  of  his  Icli  thumb,  still  m  its  first  position,  ojjens  or 
(liviiles  eitlicr  a  third  or  a  half  of  the  cjuire,  according  to  tiu^ 
quality  of  the  inipcr;  tlii'U  spreacHnir  the  fingers  of  his  right 
iiand  as  much  as  he  can  ihroiigii  tlie  length  of  the  quire,  turns 
over  his  opened  iHvision  of  it  upon  his  right  luuid  side  of  th(.' 
heap. 

Drav.'inir  and  phite  paj^iers,  beini:  occa^ion;iI!y  used  by  the 
/etter  ])res<  pi  inter,  it  is  preper  to  ouscmt.'  tliat  a  dilferent  pro- 
cess nnist  tje  used  in  the  weitino'.  'J  hese  papers  an.'  usually 
sent  in  from  tlie  Stali('ners  (piite  ihit:  tliat  is  not  folded  into 
ouires  or  hall' (juires.  'Die  best  method  of  weUing  these  papers 
Ls  to  UM'  a  bi-ush.  sueli  as  is  called  a  banister  brnsli ;  and  instead 
■jf  dijjpinff  llie  paper  into  the  trough,  lav  it  on  the  paper  board 


TYPOGRAPIIIA.  233 

by  llie  side  of  tuo  trough,  and  dipping  the  brush  into  the  water, 
give  it  a  gentle  shalve  over  the  whole  surface  to  give  an  equal 
degree  of  moisture  to  all  parts;  and  continue  to  follow  up  the 
process  upon  the  same  principle  as  in  wettmg  paper  after  the 
ordinary  mode,  as  before  described.  The  drawing-paper  being 
very  hard-sized  in  the  making,  will  require  the  brush,  and 
much  water,  three,  four,  and  sometimes  live  times  a  quire; 
while  the  plate-paper  will  take  as  little  water  as  it  is  possible  to 
give  it,  so  as  to  cover  it  all  over;  and  twice  a  quire  will  often 
lie  too  much.  This  same  mode  must  also  be  adopted  in  wetting 
paper  of  extraordinary  dimensions. 

Having  w.'t  his  lirst  token,  he  doubles  down  a  corner  of  the 
upper  sheet  of  it  on  his  right  hand,  so  that  the  further  corner 
may  be  a  little  towards  the  left  hand  of  the  crease  in  the  middle 
of  the  heap,  and  that  the  other  corner  may  hang  out  on  the 
near  side  of  tlie  heap,  about  an  inch  and  a  half;  this  sheet  is 
called  the  token  shed,  as  being  a  mark  for  the  pressman,  when 
he  is  at  work,  to  know  how  many  tokens  of  that  heap  are 
worked  off. 

Having  wet  the  whole  heap,  he  lays  a  wrapper,  or  waste 
sheet  of  paper  upon  it,  that  tiie  paper  board  mav  not  soil  the 
last  sheet  ol'  the  heap;  then,  three  or  four  times,  takes  up  as 
much  Avater  as  he  can  in  tlie  hollow  of  his  hand,  and  throws  it 
over  the  wast;^  sheet,  that  it  may  inoi-^t(^n  and  sc>ak  downwards 
.into  th(^  wet  part  of  the  last  divi~;ion  of  t!ie  (jiiire,  after  which  he 
places  the  label  which  the  warehouseman  must  alwavs  furnish 
for  each  hcaj),  antl  upon  which  is  wntten,  in  legible  characters, 
the  litlt.>  of  lh(^  wiirk  and  the  uat(>  of  wetting,  in  the  heap,  oni^ 
half  hanging  out  so  as  to  be  easily  irad. 

The  paper  being  thus  wetted,  ht;  s(-ts  it  by  in  a  part  of  li',* 
room  appropriateil  for  that  purpose,  and  lays  another  board 
upon  it;  and  in  the  middle  of  the  ix.iard  sets  about  a  halt' a  hnn- 
dnnl  W(>ight,  and  lets  it  stand  bv  to  press,  commonly  till  t!ie 
next  moniin^::  for  pressmen  generally  wet  tlieir  jiaper  atV  r 
ihev  have  left  Wi.)rk  at  ni-lit.  ,\1I  wetletl  [);iper  would  be  beliei 
it'  It  w'cvp  sepaintei!  and  rirned  in  the  course  ui'  the  fi)lli)\vinj, 
i;iurnin:,',  ;uid  pre.-^ed  I'er  '^'W  or  iweiitv  lieurs  ;u  a  standing 
[)ress. 


234  TYPOCJRAPIITA. 

But  the  wetting  of  pajxT  must,  in  all  cases,  depend  entirely 
upon  its  fabric:  and  since  the  printer  has  seldom,  ■when  em- 
ployed by  a  bookseller,  the  choice  of  the  paper,  it  will  require 
all  his  skill  and  patience  to  adapt  his  labors  to  the  materials 
upon  which  he  is  to  work.  The  paper  foi  fine  Avork  must  in- 
ert ase  in  firmness  of  texture,  as  the  ink  is  increased  in  fineness 
and  tenai'itv.  To  atii^npt  duing  fine  work  upon  common  paper, 
is  l)iu  throwing  away  time  and  expense.  A  paper  to  take  llie 
h.  St  ink  must  be  made  eminly  of  linen  rairs,  and  not  bleached 
by  any  chemical  or  artificial  means.  A  fine  hand-made  paper, 
liibricatfd  a  sulficicnt  time  to  get  properly  hardened,  and  well 
and  equally  saturated  with  size  so  as  not  to  imbibe  more  water 
m  one  part  ol'  the  dip  than  in  anotlier,  nor  resistin<j  the  water 
lik(.'  a  (bick's  back,  is  what  we  hare  found  most  suitable  for  fine 
j)ri!iting.  The  paper  having  been  wetted  with  the  greatest  care 
as  to  equality  of  water,  should  be  pressed  for  twelve  hours,  and 
llicn  carefully  turned  by  each  three  or  fjur  sheets,  so  as  no  lift 
Ic^  relaid  in  the  same  position  with  respect  to  the-  adjoining  lift; 
al  tiie  same  time  e\-ery  fold  and  wrinkle  must  be  carefully  rub- 
b'-d  out  1)V  ine  acti(.>n  of  the  hand,  so  that  nothin:;'-  but  a  flat  and 
evt  n  suifaee  >li;ill  remain:  tlie  lieap  should  then  be  pressed  Ibr 
about  twenty-lbur  hours  in  a  screw  press,  and  it  will  be  in 
tri  1(1(1  order  lor  working. 


THE  BLANKETS. 

']'m:  next  matter  of  importance  towards  obtaining  good  jiress 
"erk.  i-:  tli*>  ^ub-^tance  whicli  is  fixed  in  the  tympans  tu  inter- 
\eiie  f.i  tween  thetvpe  and  the  jilaten,  in  order,  when  the  pewer 
i-  apjihed.  tei  cause  an  impressmn  into  tlu^  >ub>tance  of  ti.e 
p;ij  er.  Wiiatever  is  u-^ed  f^r  this  purp(jse,  it  is  now  becoiee 
t.  eiiiiieallv  ciareci  to  denominate  the  blankets.  For  this  pur- 
j,  -e  ticre  lia>  been  generally  ttsed  a  kind  of  blanket,  manufac- 
e;ri-d  h:\-  ti.e  purpose.  of  a  more  f-ven  fibre  than  ordinary 
l,!;n;k't;n2:.  !o  e  fr,,ui  knot-,  and  i;a\-ii;;.r  a  v(-ry  fine  surt'ace,  uv 
l\\'':  and  lo  \-ar\"  the  imj)re--ion  as  ditferf.-nt  kinds  ui^  work 
mL;!;'  r'Oiili'.  v- rv  tiiin.  ^r  \\'el-!i  fhmnel.  (_'a<--imere.s.  or  fine 


TVPOGIl.APTIIA.  235 

broad-cloth  are  used.  These  are  varied  by  the  judgment  of  the 
iriaster  or  pressman,  according  to  the  type,  paper,  ink,  &c.  with 
which  he  works:  thus  for  very  close  or  heavy  forms,  small 
typo,  he  must  select  the  softest  woollen  blanket,  and  for  yet 
larger  tyj)e  and  more  open  work,  he  must  continue  the  change 
to  the  thinnest  blanket,  and  sometimes  even  to  two  or  three 
sheets  of  soft  paper.  Again,  a  discretion  will  be  required,  ac- 
cording to  the  state  or  wear  of  the  types — the  newer  the  letter 
and  sharper  tlie  ceriphs,  the  lin;;r  may  be  the  work,  the  stronger 
tlie  ink,  and  the  hareler  the  irapresjion;  wiiile,  on  the  contrary, 
in  order  to  malce  typ'>  which  has  been  worn,  ap[)ear  icell  up  to 
paper,  additional  softness  must  be  given.  In  fact,  nothing  but 
observation,  experience,  and  good  mechanical  common  sense 
can  guide  the  judgiueut  of  tlie  pressman  in  this  most  material 
[)o!nt  of  mnkiiL'j:  ready.  By  the  various  changes  and  comlnna- 
tions  of  his  blankets,  adding  a  soft  to  a  hard,  or  a  hard  to  a  soft 
ono;  reversing' them  in  regard  to  the  one  or  the  other  falling 
next  the  tvpe;  adding  a  slieet  of  paper  between,  or  under,  or 
over,  he  must,  with  necessary  judgment  and  patience,  regulate 
his  pull  according  to  the  various  combinations  of  circumstances 
which  may  attend  his  work. 

We  have  been  thus  lengthy  upon  this  subject  in  order  to  im- 
press more  particularly  upon  the  minds  of  pressmen,  the  im- 
portance of  their  paving  particular  attention  to  this  material 
reijuisite  in  tli"  jjroductujn  of  fine  printing:  being  fully  aware' 
that  it  has  heretofore  b^^en  regarded  as  a  matter  of  but  little  im- 
portancf,  and  having  been  a!tog<'th"r  too  mui'h  neglectrnl  by 
Humy  pre-^'^iiicn.  who  ha\'e  scarcely  deemed  it  n(>i'essarv  to  look 
into  their  iympans  })revi(.)us  to  goin^:  to  work,  frequently  work 
ing  ordin;rry  forms  with  two  or  llu'Cf;  blankets,  when  one  or 
lo^s  would  have  been  aniolv  suiricient. 


MAKIXG  HEADY  A  FORM. 

Bf;fork  a  \'')x\\\  is  laid  on  tiie  po'^s.  thp  pn'sstnan  should  care-- 
fiilly  wine  tiie  hack  -iJie  of  ih^  f  jrm  and  the  b'\i  perfcetlv  "l.^an  , 
for  if  anv  h:ird  partii'lo,  thoufrh  ever  sn  small,  should  remain  on 


23G  TYPOGRAPIIIA. 

it,  it  will  cause  that  part  u(  iho  form  to  rise,  and  not  only  malce 
a  stronger  impression,  but  in  all  probability  injure  the  letters. 

The  I'orm  should  be  laid  on  the  press,  if  an  octavo,  with  the 
signature  page  to  the  Itfl  hand,  or  nearest  the  platen;  if  a 
duodecimo,  or  its  combinations,  with  the  signature  at  the  right 
hand,  or  maresl  the  tympan.  The  form  should  be  laid  und';^r 
the  centre  of  tiie  platan,  and  pro[)frly  quoined  up;  he  then  lays 
down  the  tvmpan,  wetting  it  it'  nc.'es^ary,  and  puts  in  his 
blankets,  which  should  b;^  well  rubbed  if  they  are  the  least 
hard.  It  was  customary,  formerly,  to  wet  the  tympans,  for  all 
v,'orks.  and  even  jobs  of  almost  everv  description;  but  since  \]\e 
introduction  of  fine  printing,  and  panicularlv  the  iron  presses, 
tiiis  old  cu>toia  is  well  nigh  banislied,  exceptinij  I'or  extraordi- 
nary heavy  furms.  composed  with  old  letter,  which  of  course 
require  more  softness  to  bring  them  off.  After  putting  in  tlie 
inner  tympan  or  drawer,  he  fastens  it  with  the  hooks  for  that 
purpose,  which  serve  to  keep  it  from  springing  out.  Then 
lifting  up  the  tvmpan,  he  next  folds  a  sheet  of  the  paper  he  is 
about  to  work,  in  quarto,  and  lays  tlie  short  crease  over  the 
middle  of  the  grooves  of  the  short  cross,  if  it  lie  in  the  middle 
of  the  form,  fur  in  twelves  it  does  not,  and  then  lie  folds  the 
paper  accordinglv  in  thirds,  the  long  crease  of  it  upon  the  mid- 
dle of  the  long  cross,  and  tlie  short  crease  over  the  grooves; 
having  laid  hi<  sh^et  even  ution  the  form,  he  then  lavs  down 
the  tvmpan.  ami  pulls  geuliy  u-pon  the  sheet,  whicit.  v.'ith  the 
least  possible  damp,  will  cause  it  to  adhere  to  tlie  t\'mpan ; 
siujiiid  it  hap[)en  t')  have  br-en  laid  uneven,  it  is  much  bi'tier  t'l 
rela\'  it.  because  this  sheet  (whieh   is   dt"-n,,minated  t'le  tympan 

S!ie(-t.)   is  tiie   cruide  l)\"   V.'hii'b   tiie  ^vhe.!e   i!;iprev<!iin    of  tlie   iunil 

cfv/hiie  pnyt:  r  is  v.-orke(L  Tie  iH'Xi  selr-ct--  lii<  peiiU'^.  f  t  !ar:ie 
pa])er  s'lK^-t- <banl%eij.  and  for  smalL  ionir-shanlvc-d  j)M;ril';.  iuid 
Sl■re^\■<  i!:eiii  In  tile  ivmpan  :  if  an  (i(Ma\'o,  the  oil' jioint  \viil  l^ear 
to  be  a  tride  lender  than  liie  u<:\r  uue,  Imt  it' twelve-;,  tiiev  must 
b^e  exaetlv  {-fa  leiiifih,  er  plae.-d  ;n  rxai'i  (i;-!ani'es  t'rom  tlie 
;  .'l:;e  nt'  ij].-  p;i[;-r.  and  ti:e  m-.r'-  tiie  di-;ance  !).'t\ve,'n  t'le  point 
hel.;«,  tiii-  !i-<<  thr'  ]:al)il:i\'  i^f  t;ie  re^n-if  r^  var\dnir  bv  the  s're  idi- 
inc  of  the  liiil-<.  I]\-  p!;!(dii:j-  tlie  jie>ini'^  un"qiiali\'  in  i^ctavjs, 
6!.e.  a-;  liefe-i    ni'iitioii.-l.  he  rihe  -ri-ure'S  liim-^eir  tiie  mripe  irom 


TYPOGRAPHIA.  237 

a  turned  heap  when  he  works  the  reiteration.  When  a  press 
has  a  run  upon  the  same  Avork,  they  seldom  ever  remove  the 
quoins  on  the  offside  of  the  bed,  but  let  them  remain  as  guages 
tor  the  following  forms;  for  by  thrusting  the  chase  close  against 
those  quoins,  the  register  is  almost,  if  not  quite  made,  provided 
the  chases  run  equal  as  to  size.  Having  fixed  on  his  points,  he 
tiien  lays  down  the  tympan,  within  about  an  inch  and  a  half 
of  the  form,  in  which  position  he  holds  it  at  the  upper  part  with 
his  left  hand,  w'hile  he  sinks  his  body  till  he  can  see  between 
the  form  and  the  tympan,  and  with  the  ball  of  the  middle  finger 
of  his  right  hand,  presses  gently  upon  the  tympan  over  the  end 
of  each  point  successively,  to  ascertain  if  they  fall  in  the  middle 
of  the  grooves  of  the  short  cross;  if  not,  he  moves  them :  should 
the  sheet  have  been  taken  up  properly,  and  the  points  carefully 
fixed  according  to  it,  there  can  be  little  doubt  but  the  points  Avill 
fall  in  their  places.  Under  the  head  of  making  ready  the  form, 
are  compreliendcd  several  operations,  viz. — 1 .  The  frisket  should 
be  covered  with  stout  paper,  in  the  manner  described  for  put- 
ting on  parchment,  being  careful  to  place  the  paper  on  the  in- 
side of  the  frame,  so  as  to  lie  close  to  the  tympan,  and  to  con- 
fine the  sheet  in  its  place  when  laid  on  for  printing;  when  the 
paste  is  sufficiently  dried,  the  frisket  should  be  put  on  the  tym- 
pan, and  after  inking  the  form,  an  impression  should  l)e  pulled 
upon  it.  the  frisket  is  then  taken  off  and  laid  on  a  board,  or  on 
his  bank,  and  tlie  pages  cut  round  with  a  sharp  knife  about  a 
Nonpareil  from  the  edge  of  the  margin  of  each  pag':^,  it  is  then 
replaced  on  tlie  tympan:  after  which  it  would  be  advisable  to 
put  a  few  cfirds  across,  not  only  to  strengthen  the  bars  of  j)aper, 
but  also  to  keep  the  sheets  closer  to  the  tympan  than  would 
otherwise  have  been  the  case  if  the  paper  bars  had  been  left  to 
perform  this  office  alone;  ;U  times  it  is  necessary  to  work  with 
cords  onlv,  where  the  margin  is  too  small  to  admit  bars  of  paper. 

2.  lie  next  examines  his  form,  to  see  tliat  it  is  properly 
locked  up  and  planed  down. 

3.  That  no  letters  or  spaces  lie  in  the  whit"  Inies  of  tiie  form, 
nor  between  the  lines  in  leaded  matter;  v.'hich  may  happen  if 
the  com[iositf)rs  have  made  any  corrections  since  the  form  u'as 
laid  on  the  press. 


23S  TYPOGRAPIIIA. 

4.  Should  there  be  any  wood  cuts  in  the  form,  they  must  he 
brought  to  a  proper  height,  Avhich  will  depend  much  upon  the 
judgment  of  the  pressman;  if  the  cuts  are  heavy,  they  must  be 
at  least  type  high,  but  should  they  be  light,  they  will  perhaps 
require  to  be  aljuut  a  lead  or  more  lower  than  the  type,  and  the 
solid  parts,  if  any,  brought  up  by  overlays  nicely  cut  from  an 
impression,  with  a  pair  of  sharp  scissors;  should  any  particular 
part  then  be  too  higii.  it  may  be  humored  a  little  by  cutting  it 
out  of  the  tympan  she'M:  but  should  the  whole  appear  too 
heavy,  an  underlay  must  be  taken  out,  and  if  necessary,  the  cut 
filed  or  scraped  away  at  the  bottom.  Tliis  part  of  the  press 
man's  duty  has  hf-r-'^iofore  been  altog'-ther  too  much  Ufglectod. 
eitlier  IVom  inuttentiua,  or  a  want  of  knoudedge  of  tlie  proper 
c  jvirso  to  bf  pursued,  much  to  the  dftrinifnt  of  the  engraver, 
whose  labor,  unassisted  by  the  printer,  is  entirely  thrown  away. 

5.  h  a  \viutf  pagp  or  pages  happen  in  the  form,  and  lie  us^s 
;i  nr-wly  coverr-ii  fri>ket.  he  does  not  cut  out  that  pngp;  but  if  he 
works  with  an  old  friskf-t,  and  that  page  is  already  cut  out,  he 
pastes  on  a  piece  of  paper  to  cover  the  white  page  in  the  form, 
that  it  may  not  lilack;  he  then  puts  on  a  b^  arer.  to  keep  llie 
adjoining  pages  from  having  too  hard  an  impre>;:ion;  some 
pressmen  use  re^-'ets,  others  have  i^urnilure  cut  to  a  proper 
height,  and  a  tliird  class  adopt  corlc.  ^yhic!l,  frijm  its  elasticity, 
in  many  eases  is  very  useful:  spring  bearers,  made  of  hard 
j'aper  relied  up,  are  also  very  serviceable  to  guar;;  t!i':-  .-id's  and 
b(ittonr<  of  lia'iit  and  open  pa^'' s,  when  there  i-  an  inclination 
t'l  >lur.  lA'hieh.  witn  some  pres-es.  caimol  be  pr^'-i'dited. 

t'l.  lb-  'xariiiii'-^  whf-ilier  the  fri.-ket  bites:  t'aat  i--,  v.-hether  it 
k'  "p';  ofi'ti.e  impression  from  any  pait  ef  tiii^  jiao^'-s:  if  it  does, 
be  rut-  a\';av  ^n  mueh.  and  ;ibout  a  Xonpafil  nr^re,  olT  the 
fri-ket  \vh'  re  \\',\<  jiappi-n-. 

7.  He  f^nn-id'T-  whetlier  th"  ealch  of  lb-  fri-k'-t  sein;!,  ntli-r 
t  ")  r.  rward  e.r  t'-e  }iackv.":ird  :  if  ''-i  i"a-w,.r'!.  li"  i;iay  fe-  much 
d'iay"d  by  ii-  lallin^:  d-Avn.  and  if  !■.  ,  backward,  ati'^r  lie  j:us 
i:iv<n  i:i''  iVi-ki-t  a  ti aie'a  \<i  brui:r  it  d'\vn,itw;h  in.-  too  long 
}■■■[■  ]■'■  i;  v.-ill  l''!k.v.-.  a;;  1  retard  tiie  prf.^T'-^  ef  ili.-  work,  and 
ii'.t  inifrequfaThv"  eaii'^e  tbe^  ^li.  ■  t  to  >]ip  out  of  it-  jjrnper  place; 
hr  tiif  ref  a-''    ida'.-e-  tiie    iMUdi    -•.   taa'    tie-    iri-i;et    mav  stand  a 


TYPOGRAPHIA.  239 

Utile  beyond  a  perpendicular  backwards,  that  with  a  near- 
guessed  strength  in  the  tossing  up,  it  may  just  stand,  and  not 
come  back. 

8.  He  fits  the  gallows  so  that  the  tympan  may  stand  as  much 
toward  an  upright  as  he  canj  because  it  is  the  sooner  let  down 
upon  the  form  and  lifted  up  again.  But  yet  he  will  not  place 
i:  so  upright  as  to  prevent  the  white  sheets  of  the  paper  from 
lying  secure  ou  the  tympan;  and  for  reiteration  sheets,  their 
iaying  upon  the  points  secures  them. 

9.  Few  pressmen  will  set  the  range  of  the  paper  bank  to 
stand  at  right  angles  with  the  bed  of  the  press;  but  they  draw 
ilie  further  end  of  the  bank  so  that  the  near  side  may  make  an 
■ujgle  of  about  seventy-five  degrees,  more  or  less, -with  the  near 
*-ide  of  tlie  bed. 

10.  Tlie  pressman  brings  his  heap,  and  sets  it  on  the  horse, 
on  the  near  end  of  the  paper  bank,  as  near  the  tympan  as  he 
can,  yet  not  to  touch  it,  and  places  an  end  of  the  heap  towards 
him.  He  then  takes  the  uppermost,  or  outside  sheet,  and  lays 
it  on  the  bank;  and  taking  three,  or  four,  or  five  quires  off  his 
heap,  he  sliakes  them  at  each  end,  to  loosen  the  sheets,  that 
with  pressing  stick  close  together;  and  not  finding  them  loose 
enough,  he  shqjves  them  long-ways  and  side-ways,  to  and  fro, 
till  he  finds  he  has  sufficiently  loosened  or  hollowed  the  heap. 
Then  with  the  nail  of  his  right  hand  thumb,  he  draws  or  slides 
forward  the  upper  sheet,  and  two  or  three  more  commonly  fol- 
low gradually  with  it,  over  the  hither  edge  of  the  heap,  to  pre 
pare  tliose  sheets  ready  for  iaying  on  the  tympan. 

11.  Having  attended  to  the  foregoing  directions,  lie  next 
proceeds  to  pull  a  rcrise  sheet,  which  must  be  sent  up  to  the 
Overseer  for  a  final  revision,  and  that  he  may  discover  whether 
any  letters  have  dropped  out  of  tlie  form  in  putting  it  on  the 
prpss,  Sec. 

l"-2.  AVhile  the  sheet  is  underiroiiig  a  r(;visioii,  the  [jreisman 
pfoceeds  to  make  re'j^isfer,  (if  lialf  sheet-wise)  which  he  does 
by  pullin?  a  waste  sheet,  and  turning  it,  (without  inking,  a> 
liic  sheets  may  afterwards  be  used  for  slip  sheets.)  being  par 
ticular  not  to  ^treie-h  the  point  lioles  in  the  least,  or  to  draw  th' 
liaiid  alon:^  the  -^heet    m   Iim viiig  ii.    ;r-   it  w[ll    l>i    iiiip'i>-i!)Ie  f- 


240  TYPOGRAPHIA. 

make  good  register  while  these  particulars  are  neglected.  la 
making  register^  the  points  should  be  knocked  up  or  down  in 
such  a  direction  as  would  bring  the  first  impression  under  the 
lastj  only  knocking  the  point  half  the  distance  apparent  on  the 
sheet.  Should  we  be  unable  to  make  register  with  the  points, 
the  difiiculty  must  then  be  either  in  the  furniture,  the  length  of 
the  pages,  or  what  is  too  frequently  the  case,  in  the  springing 
of  the  cross-bars,  from  being  locked  up  by  careless  and  indif 
ferent  compositors,  who  commence  at  one  quarter  of  the  form. 
locking  it  up  tightly,  and  so  going  round,  instead  of  gently  tap 
ping  it  at  opposite  sides  till  the  whole  is  secure.  In  locking  up 
a  form,  the  quoins  at  the  feet  should  he  cently  struck  first,  to 
(brce  up  the  pages  and  prevent  their  hanging;  but  in  unlock 
102',  tiie  side  c^uoins  are  first  slackened,  otherwise,  should  the 
matter  bo  leaded,  the  leads  are  viTy  liable  to  be  bent,  it  not 
hroke,  liv  the  foot  uf  the  page  being  first  unlocked. 

In  making  n-gisti/r,  it  may  sometimes  be  necessary  {o  move 
the  forms,  particularly  in  twelves,  in   order  to  avoid  the  incon 
veiiiencp  of  moving  tlie  points,  or   in   some  ca'^es  where  thev 
cannot  l)e  moved  to  answer  the  purpose. 

But  It  .^onvtimes  happens  that  the  compositor  has  not  made 
til''  white  (-xactly  equal  between  all  the  si(b:'s  of  the  crosses;  in 
tiiis  ea'^T',  altering:  tlie  (|U(iiiis  will  m^t  make  good  register;  the 
pre.-smati  liierefore  observev  which  >ide  has  too  much  or  icc 
Iniie  -white,  and,  unlockiie::  the  Ibrm.  takes  out  or  puts  in  sue! 
.1  iiiimlier  (if  bads  or  reglets  as  in.'  tiiinks  will  make  ^-^ed  re;ii- 
N  ;■.  wnien  he  iries  b\-  puihiig  a  sheet,  a.iid  if  it  tje  !ieres>an. 
uWi  )■-  ii  acraiu.  li'l  he  has  [Militd  a  :;iieei  with  gmxl  i'e:;-isier. 


'I'n  iake  a  >i.e,-t  .  .|1'  ii:.-  ia  a;\  ;he  piill.  1-  jilaee-  iiiv  lindy  almot 
s'ra;-'';it  bel^ri'  !h"  near  ^p|.'  "t'  tiie  ivnipati ;  but  nimblv  iwi> ;■■ 
the  npp,  r  paia  of  l:i^  h  !y  a  bt'Je  f-ie!, wanN  tewai'ils  lii''  lieap, 
l!ie    I'tier   !m   ^.  .■    that    he    la!  .  V    la:i    .ii.'    >i,.  m    i  J;',    wiiicli    lie 

lee;-:;-;     tV.  la    tiie     j.  -!    ,   f    l,.e    }.,  aO   b\-   (irawiiii:  the   back  ol'   liie 


■i.':ii; 


!  '" 


TYPOGRAPHIA.  241 

heap,  {\)m  in  ihe  reiteration,  care  should  be  observed  to  draw 
thf>  thumb  on  the  margin,  or  between  the  gutters,  that  the  sheet 
may  not  smear  or  set  off,)  and,  receiving  the  near  end  of  the 
sheet  v.-iih  his  left  hand  fingers  and  thumb,  catches  it  by  the 
i'urtlier  edge  with  his  right  hand,  about  four  inches  from  the 
upper  corner  of  the  sheet,  and  brings  it  swiftly  to  the  tympan, 
and  having  the  sheet  thus  in  both  his  hands,  lays  the  further 
side  and  two  extreme  corners  of  the  sheet  down  even  upon  the 
further  side  and  extreme  further  corners  of  the  tympan  sheet; 
the  sheet  being  now  properly  laid  on,  he  supports  it  in  the  cen- 
tre by  the  fingers  of  the  left  liand,  while  his  right  hand,  being 
disengaged,  is  removed  to  the  back  of  the  ear  of  the  frisket,  to 
bring  it  down  upon  the  tympan,  laying,  at  the  same  moment, 
tlie  tympan  on  the  form..  He  then,  witii  his  left  hand,  grasps 
tho  rounce,  and  with  a  moderate  strength  quickly  turns  it  in ; 
after  pulling,  he  gives  a  quir'k  and  strong  pressure  upon  the 
rounce.  to  turn  it  back,  and  run  the  carriage  out  again:  as  soon 
as  hi'  has  given  tlii^  pressure,  h.r'  disengages  his  left  hand  from 
the  rounce,  and  claps  the  fingers  of  it  towards  the  bottom  of  the 
tvmpan,  to  assist  the  right  hand  in  lifting  it  up,  and  also  to  be 
ready  to  catch  the  bottom  of  the  sheet  when  tlie  frisket  rises, 
which  he  conveys  quick  and  gently  to  the  catch;  and  while  it 
is  going  up,  he  slips  the  thumb  of  his  left  hand  under  the  near 
lower  corner  of  the  sheet,  which,  with  the  assistance  of  his  two 
fore-fingers,  he  raises,  and  by  so  doing  allows  the  right  hand 
also  to  grasp  it  at  the  top,  in  tlie  same  manner,  which  lifts  the 
sheet  carefully  and  expeditiously  off  the  points,  ami  nimbly 
twisting  aliout  his  body  towards  the  pajier  l)ank.  carries  the 
shei't  over  thf  h'-ap  of  white  paper  to  the  bank,  and  lays  it 
down  upon  a  waste  sheet  or  wrapper,  put  tJK're  for  that  pur- 
pose; but  wiiile  it  is  coming  over  the  white  paper  iK^ap.  thcjugh 
he  lias  the  sin-et  bf'tv.-ci-n  both  hi?  to  re-- fin  2;' -rs  and  thumbs,  vet 
lip  holds  it  so  kios'^ly.  tiiat  it  may  movp  l)''-tween  thfin^is  on 
two  centre^,  as  bis  body  twi<ts  aljout  tVum  the  sidp  of  the  tvm 
pan  towards  the  side  of  tlie  paper  bank. 

TI1U-.  both  the  pres^maivs  hands  at  the  same  time  ar^'  alter- 
nat-^lv  (-aiii'afff'd  in  diff'-rent  operation*:  f)r  while  his  right  hand 
i>  f^niployed  in  on^  aesion,   bis  left    i^  busy  about  another;  and 


2 12  TVPOGRAPHJA. 

these  exercises  are  so  suildenly  varied,  that  they  seem  to  slide 
into  one  another's  position,  beginning  when  the  former  is  bul 
half  performed. 

Having  thus  pulled  a  sheet,  and  laid  it  down,  he  turns  his 
body  towards  the  tympan  again,  and,  as  he  is  turning,  gives 
the  next  sheet  on  the  white  paper  heap  a  touch  with  the  back 
of  the  nail  of  his  right  thumb,  as  before,  to  draw  it  a  little  over 
the  hither  edge  of  the  heap,  and  lays  it  on  the  tympan,  &.c.  as 
he  did  the  first;  and  so  successively  every  sheet,  till  the  whole 
heap  of  white  paper  be  worked  off. 

As  he  comes  to  a  token  sheet,  he  undoubles  it,  and  smootlis 
out  the  crease  with  the  back  of  the  nails  of  his  right  hand,  that 
the  face  of  the  letter  may  print  upon  smooth  paper.  And  being 
printed  off,  he  i'olds  it  again,  as  before,  for  a  token  sheet  when 
he  works  the  reiteration. 

Having  worked  off  the  white  paper  of  twelves,  he  places  his 
right  hand  under  the  heap,  and  his  left  hand  supporting  the 
end  near  him,  turns  it  over  on  the  horse,  with  the  printed  side 
downwards:  if  octavo,  he  places  his  left  hand  under  the  heap, 
supporting  the  outside  near  end  with  his  right  hand,  and  turn-- 
»t  one  end  over  the  other;  all  turning  of  the  papr-r  for  reiiera 
lion  is  regulated  by  this  principle,  and  called  by  the  pressmen 
tvclve-icays.  or  octarn-ways.  In  performing  this  operation,  he 
takes  from  tlie  iieap  so  much  at  (^nce  as  he  can  well  govern. 
without  disordering  the  evenness  of  the  sides  of  the  paper,  viz. 
a  token  or  more,  and  lays  that  upon  the  hor^e:  then  takes 
another  lift,  and   so,  successively,  till  he  has  tnriied  the  wliole. 

Having  turned  the  heap,  he  proceeds  to  work  it  olT.  as  before 
iie<;rri!)ed.  except  that  with  the  left  hand  he  guides  the  jxiinl 
iiolev  fiver  the  points,  iii.ovin^:  tlie  slieet  with  the  riglit  hand, 
more  or  less,  to  a--;ist  him  in  -;o  doin::.  The  tC'ken  slu-ets.  as 
lie  luei-is  witii  them,  he  d'lcs  iidt  fold  down  ai.'ain.  as  he  did  the 
whit'-  pai)er. 

\Viieii  wiihin  a  ijuire  or  <o  ef  the  end  of  the  heap,  the  ware- 
hou'-eiDan  sliiiuld  be  called.  whr';e  duty  it  is  to  count  the  paper, 
and  if  it  fall<  slK.irt,  lu-  brings  iiie  pre-s^man  the  number  of  dry 
sheet-',  whif'h  lie  turns  iiitf)  tt'.e  heap  from  which  the  wet  sheets 
are  tnkeii 


TVPOGRAPHIA.  '243 

HULRS  AMJ  JIEMEDIES  FOR  PRESSMEN'. 

About  every  live  or  six  sheets  a  small  quantity  of  ink  should 
be  taken;  yet  this  will  be  subject  to  considerable  variation  from 
the  nature  oi'  tlie  individual  work,  and  quality  of  the  ink;  a 
form  of  larye  iyi)C,  or  solid  matter,  will  require  the  taking  of 
ink  more  frequently,  and  a  light  form  of  small  type  less  fre- 
ciuendy;  during  tlie  intervals  in  which  the  roller  boy  is  not 
employed  in  brayering  out  or  taking  ink,  he  should  be  almost 
constantly  engaged  in  distributing  or  changing  his  rollers.  In 
takincT  ink,  he  should  invariably  take  it  on  the  back  roller,  as  it 
will  the  sooner  be  conveved  to  the  other  roller,  and  con'^e 
cjuently  suve  time  in  distributing.  "When,  through  carelessness, 
too  much  ink  has  been  taken,  it  should  be  removed  by  laying  a 
})iece  ol'  (dean  waste  paper  on  one  of  the  rollers,  and  distribut- 
ing them  till  the  ink  is  reduced  to  the  proper  quantity.  If  let- 
ters, ([uadrats.  or  furniture,  rise  up  and  black  the  paper,  they 
should  be  put  down  with  the  bodkin,  and  the  quarter  locked  up 
tijliter.  If  anv  letters  are  battered,  the  quarter  they  are  in  must 
t)e  unlocked,  and  perfect  ones  put  in  by  the  compositor.  When 
bearers  become  too  thin  by  long  working,  they  should  be  re- 
placed by  thicker  ones.  When  the  form  gets  out  of  register, 
wliich  will  often  happen  !)y  tlie  starting  of  the  quoins  which 
se^cure  tlie  chase,  it  must  be  immediately  put  in  again,  as  there 
can  searcely  be  a  greater  defeet  in  a  book,  than  a  want  of  uni- 
formitv  in  this  ])arti<'ular.  If  picks,  whiidi  are  produced  by 
bit«  of  jiaper,  composition,  or  tilm  of  inl:  and  irrease  or  fillii, 
get  inio  the  form,  tluy  are  rr-moved  with  the  point  of  a  pin  or 
needle;  but  if  the  f)rm  i<  mueli  cloa^'ed  v.d'ii  tliem.  it  should 
be  well  ruiibed  over  v.-Jth  ejpan  lie,  or  taken  oil',  and  washed : 
in  either  car-e.  hefere  the  pressman  goes  on  again,  it  should  I;.- 
maile  ])eri'ectly  drv  bv  [)uiling  sev(.'ral  waste  slujets  upon  it,  i;i 
orde!'  to  suck  up  the  water  deposited  in  the  ravities  of  tiie  letter. 
Til"  pi'e-suKiU  shoul;!  habituate'  himsr-li'  to  glanre  his  e\-e  oVfi 
everv  siieet.  as  he  t:ikes  it  off  the  tympan  :  IjV  udkiwing  tliis 
plan,  lie  will  be  enabled  not  only  to  obsi^-ve  anv  want  of  uni- 
fermitv    in    the   cnlur.    but   also   to   detect   many    imperfections 

V.'hieil   mie-i1t  Otlierwi-e  e>i.;ap(i  luinotie-d. 


244  TYPOORAPHIA. 

In  ordpr  to  make  perfect  unitbrmity  in  the  color,  the  roller 
boy  should  be  made  to  keep  h's  ink  well  brayered  out  with  the 
small  roller,  in  proper  quantities  for  the  work  in  hand,  and  also 
to  change  his  rollers  well  after  taking  ink,  and  at  other  times; 
the  rollers  are  changed  by  moving  the  roller  handle  slowly  to 
the  right  and  left,  while  the  crank  is  being  turned  briskly  with 
the  left  hand. 

Torn  or  strained  sheets  met  with  in  the  course  of  Avork,  are 
thrown  out  and  placed  under  the  bank.  Creases  and  wrinkles 
will  frequently  happen  in  the  sheets  through  careless  wetting 
of  the  paper,  and  which  escaped  the  pressman's  notice  in  turn- 
ing; these  should  be  carefully  removed  bv  smoothing  them  out 
with  the  back  of  the  nails  of  the  right  hand. 

Slurring  and  mackling  arise  from  various  causes;  the  follow- 
ing, among  many  others,  are  the  causes  of,  and  remedies  for 
this  evil.  If  the  frame  of  the  tympan  rub  against  the  platen,  it 
will  inevitably  cause  a  slur  or  mackle.  This  can  easily  be 
remedied  bv  moving  the  tympan  so  as  to  clear  the  platen.  The 
joints  or  hinges  of  the  tympans  should  be  kept  well  screwed  up, 
or  slurring  will  be  the  consequence.  The  thumb  piece  of  tb*^ 
frisket  being  so  long  as  to  cause  it  to  rub  against  the  cheek  of 
the  press,  always  produces  a  slur;  this  can  be  prevented  bv 
filing  off  a  part  of  it.  Loose  tympans  will  at  all  limes  slur  the 
work,  great  care  must  therefore  be  oljserved  in  drawinir  them 
perfectly  ti^ht.  The  paper  drying  at  the  edges  will  als(j  cause 
a  slur;  this  inav  be  remedied  by  w(>tting  the  edijes  frequeiuly 
with  a  spon:;-e. 

Independent  of  the  above  causes,  slurring  and  luackling  will 
^ornciimes  liappen  :  it  will  be  better  in  tliis  cas<>  to  paste  corks 
«jn  the   friskel.  or  to  tie  ns   many  cdrils    as    possililc  across  it.  to 

kf(\)  the  slleel   close  lo   ihe  tvnipiUl. 

In  roilliii£  ihe  iMrnLlhe  pres-^iiian  siiould  >ee  that  the  buy 
rolls  it  slowlw  or  tlie  rollers  will  be  ;ipt  to  jump,  which  occa- 
sifMis  ii  friar:  to.  prevent  the  rubers  from  juuijjinir  or  bounding', 
\';n-ious  e\j)erinients  lia\'i'  heeii  tried,  as  the  most  successful  of 
whicli.  we  would  re<'oinuiend  bridi^es  or  springs  made  of  thin 
steel,  to  reai'h  acro-^s  t'ne  ^iitieis:  these  springs  sliould  taper  off 
at    ihe   en(K,    and    have   an    olilonij   hole  in   each   end.  through 


TVPO(iRAPniA.  245 

whicli  ihey  may  be  tacked  to  the  gutter  sticks.  la  very  open 
forms,  it  will  perhaps  be  necessary  to  put  bearers,  or  pieces  of 
reglet  where  the  blank  pages  occur  at  the  end  of  the  form,  to 
prevent  that  end  of  the  roller  from  falling  down  and  leaving  a 
friar  at  the  opposite  end.  Of  late  years  this  difficulty  has,  in  a 
great  measure,  been  obviated  by  imposing  the  form  in  such  a 
manner,  as  in  most  cases,  to  bring  the  blank  pages  in  the  cen- 
tre. (See  pages  14,  15,  20,  and  21  of  the  impositions.)  This 
mode  should  always  be  adopted  for  title  pages  and  other  light 
matter,  as  great  advantages  must  arise  from  working  such 
pages  in  the  centre  of  the  form. 

Before  the  pressman  leaves  his  work,  he  covers  his  heap. 
He  first  turns  down  a  sheet  like  a  token  sheet,  where  he  leaves 
off,  then  puts  a  quantity  of  the  worked  off  sheets  on  it,  and  a 
paper  board  if  convenient.  Laying  the  blanket  on  the  heap, 
after  leaving  off  work,  is  a  bad  custom.  If  the  paper  be  rather 
dry,  it  will  be  better  to  put  wet  wrappers  on  it,  after  wetting 
the  edges  well. 

The  pressman  next  observes  whether  his  form  be  clean ;  if 
so,  he  puts  a  sheet  of  waste  paper  between  the  tympan  and 
frisket,  and  lays  them  down  on  the  form;  if  it  be  dirty,  it  must 
be  rubbed  over  with  clean  ley,  and  several  waste  sheets  pulled 
on  it  as  before  directed,  to  suck  the  dirty  ley  out  of  the  cavities 
uf  the  letter.  On  his  return  to  work  in  the  morning,  should  the 
type  be  much  worn,  he  takes  care  to  wet  the  tympan.  If  tliere 
should  be  any  pages  in  the  form  particularly  open,  those  parts 
of  the  tympan  where  they  fall  must  not  be  wetted. 


THE  LEY  TROUGH. 

The  form  beins  worked  off,  it  bpcomps  the  pressman's  duty  to 
wash  it  f'lf^an  and  free  from  evprv  particle  of  ink.  mA  onlv  for 
tiie  clt"»anlv  w(3rkini;  anil  well  standinir  of  the  letter  in  tlie  sub 
wPijiicnt  eoniposino'.  ImiI  to  <avf  lii^  own  time  in  tnakinir  readv 
when  the  ^^atne  leiier  o-iis  to  [)re>s  aaain  :  lor  It'  a  [iressman  is 
dt  all  reinw-  iii  llo^  (liilv  ,  he  will    perha[)<    at    last    be  (jbliired  to 


•^40  TYPOGRAPillA. 

do  it,  and  wait  the  drying  of  tiie  form,  beibre  tie  ran  go  on  witli 
hi.s  -work  in  a  fit  and  prf)per  manner.  Many  an  hour  is  lost 
I'rom  a  pressman  not  lu-stowing  a  minute  or  two  in  thoroughly 
cleansing  and  rinsing  his  form. 

For  this  purpo-^e,  every  printing  office  is  provided  with  a  ley 
trough,  suspended  on  a  cross  frame,  and  swinging  by  iron  ears 
fixed  something  out  of  the  precise  centre,  so  a^  the  gravity  of 
the  trough  will  cau'-e  it  to  fall  in  a  slanting  position  forward. 
This  trough  is  lined  with  lead,  the  top  front  edge  being  guarded 
from  the  pitching  of  the  forms  by  a  plate  of  iron.  The  form 
having  been  placed  in  the  trough  on  its  side,  he  takes  hold  ol' 
ihe  rim  of  the  chase  by  the  hook,  or  instrument  for  tiiat  pur- 
jjose,  and  laving  it  gentlv  down,  pours  the  ley  upon  it,  and 
sluices  it  bv  swinging  the  trough  on  its  pivots,  two  or  three 
times  to  and  fro,  then  taking  the  ley-hrush,  he  applies  it  to  the 
whole  firm,  type,  furniture,  and  chase;  the  ley  is  then  let  out 
into  a  recejjtacle  for  that  purpose,  and  the  form  well  rinsed  with 
cifan  water,  bv  swinginir  the  trough  as  before:  the  form  is 
then  lified  out,  and  consigned  to  the  care  of  the  compositor. 

The  l.-y  is  made  of  pot  or  pearbash.  A  large  earthen  jar  is 
usuallv  chosen  fjr  the  jjurpnse:  a  sufficient  quantitv  of  pearb 
a-^h  i*^  added  to  the  water  to  make  it  bile  tlie  ton^'uc  sharply  in 
tasting. 

The  ley  brush  i«  made  larae,  the  liairs  close,  fine,  and  lona, 
m  order  nut  to  injure  llie  type,  while  sullicient  force  is  applied 
tn  search  every  inti-rstice  in  the  letter,  wliere  the  ink  can  have 
msinuat'  d  itself, 


n\  FIXE  rR].\TL\(;. 

br  is  to  \i(-  r'lrretted.  that  iine'intrnjablt'  causes  prerhnb'  us  from 
prii'takinir  of  ilm-c  Iji-U'tii-.  wim-ii  are  so  e^-mtialiv  nf-ei-s-ai-y 
in  tii"  priiduciinii  id'  Fiin-  Printing';  Wf  allude  io  tlip  I'l'iv 
rii;in_"ahi(j  nature'  lif  tins  rhmati-,  tiic  tcmpiraturf  of  which  is 
Mj  vanat  li'.  t';;at  it  aci-  [xiw crfully  u[)on  tiie  (ji|  uC  ^vllich  (uir 
ink  !-  cf'inj.'ii^f-d.  di-p(l^iIl^^  it  at  one  hdur  ti;  spfad  eijually  ovir 
til'-  r'^ller^.  ainl  a'  anuth'-r  rendf)-in2'  it  so  glutinous  aiul  ^tiffi,  a^ 


TYPOGRAPHIA.  247 

to  tear  the  surface  of  the  paper,  and  thereby  baffle  the  utmost 
efforts  of  the  pressman ;  even  though  he  raise  the  temperature 
to  summer  heat,  if  the  frost  be  intense,  it  will  be  of  little  avail : 
it  has  been  proved  that  heat  will  not  entirely  counteract  the 
effects  of  a  freezing  atmosphere  upon  some  kinds  of  printing 
ink.  It  is  not  the  ink  alone  that  is  thus  affected,  but  also  the 
rollers,  which  are  so  out  of  order  at  certain  times,  that  it  is 
utterly  impossible  for  the  pressman  to  produce  even  passable 
common  work,  much  less  that  of  a  superior  kind:  of  these 
evils  the  public  are  little  aware,  but  they  are  severely  felt  both 
by  the  employer  and  the  men.  But  there  are  other  obstacles 
against  the  production  of  Fine  Printing,  or  indeed  work  of  any 
description;  we  allude  to  the  introduction  of  cotton  rags,  and 
likewise  ground  plaster  of  Paris  (called  g:ypsum,)  into  the 
manufacture  of  fine  and  other  papers,  also  the  application  of 
the  oxygenated  muriatic  acid  for  the  purpose  of  obtaining 
despatch  and  delicacy  of  color,  and  thereby  producing  a  good 
paper  in  appearance,  from  an  inferior  staple.  Nothing  can  be 
more  perplexing  to  a  printer,  nor  more  detrimental  to  his 
labors,  than  what  is  termed  bleached  paper :  for  although  it 
may  be  thick,  and  seem  strong  in  the  ream,  no  sooner  does  the 
water  penetrate  through  it,  than  it  loses  its  adhesive  quality, 
and  ])ecomes  so  loose  and  soft,  as  scarcely  to  bear  handling, 
and  in  working  sinks  down  into  the  letter,  leaving  a  portion  of 
Its  substance  on  the  form  after  the  impression,  until  it  so  clogs 
the  type,  that  the  work  is  often  rendered  scarcely  legible.  Hence 
it  is  that  works  printed  in  this  country  are  less  valued  than 
those  from  the  English  press,  whose  works  are  printed  on 
paper  of  a  fine  fabric  made  mostly  of  linen  rags,  and  sufficiently 
strong  to  bear  a  fine  ink;  while  in  this  country  the  pressman  is 
obliged  to  accommodate  the  ink  to  the  softness  of  his  paper, 
which  will  seldom  bear  any  thing  above  the  lowest  priced 
hook  ink. 

The  printers  who  have  paid  most  attention  to  fine  printing, 
have  endeavored  to  produce  that  delicacy  and  sharpness  of  ap- 
pearance on  paper  which  is  peculiar  to  the  copper-plate  work; 
but  though  such  an  effect  may  be  very  nearly  approximated,  it 
'•an  npvpr  be  perfectiv  attained,  the  impression  being,  as  I  have 


'^4S  TYPOr;]{Al>niA. 

before  remarked,  arconiplished  hv  such  cumpletely  different 
means.  In  seeking,  thcret'ore,  after  that  which  peculiarly  be- 
longs to  another  art,  Ave  are  liable  to  a  neglect  of  those  excel- 
lencies which  exclusivelv  characterize  our  own;  nor  needs  the 
mortification  be  verv  great  that  Ave  cannot  produce  close  imita- 
tion of  copper-phitt'  printing,  Avhen  Ave  see  tlie  difficult  and 
abortive  attempts  of  llie  copper-plate  printer  and  engraver  to 
imitate  us:  and  Avhen  Ave  consider  how  much  more  than  the 
o.her,  our  art  is  capable  of  performinir.  With  proper  materials, 
properly  employed,  tlie  impressions  from  letter-press  exhibit 
peculiar  fine  relief  and  outline,  Avhich,  in  many  respects,  must 
be  alloAved  to  excel  in  beautv,  even  the  finest  productions  of 
coppf-r-platH. 

Tiiose  Avho  iiave  had  opportunities  of  inspecting  the  early 
productions  of  the  press,  AviU  be  convinced  that  tlie  art  became 
retrograde  in  the  course  of  time;  for  there  are  yet  in  existence 
Avork;  of  the  fiftef-nth  and  beo-inning  of  the  sixteenth  centuries, 
Avliich,  Avhether  examim-d  Avith  regard  to  case  or  press,  Avill 
bt.ar  a  n^ar  c(jmparison  with  anv  that  are  noAv  produced.  It 
has  been  previously  remarked  that  printing,  imm'-diatdy  on  it-; 
inventiun,  made'  siiigularlv  rapid  advam-es  to  pt'rfectiijn.  Avhich 
may  be  easily  aci:(juiiii-d  fur  by  the  ficiHlies  it  afforded  to  tiic 
purposes  of  sorifty,  and  more  especially  to  the-  cause  of  litcra- 
tur-^;  and  tu',-  un<-x;ujipli'd  p;urona:^e  it  thus  obtained,  as  being 
one  el"  til"  ni'j-t  h.iiioiabl.-  ve-tiljuh-s  to  human  crlory. 

Thf  inijjrivcin.-nts  Avhich  have  lakf-n  place  in  all  the  arts 
cuimer;.  d  Avii'u  f-ti'-r-pi'e--;  printing'.  lia\'e  ai''"d.  no  doubt, 
[)uv.  ei-|';i;|\-  ill  -limu'.aiini:  tiie  print"r>  (-1'  thi.^  country  t')  that 
exirac'|-.|inar\'  exertieii    b\-  A^•ili^■il    such   fine  spe'-iint-n-  e>f  typo 

C-lll'iii"'    beaUU'    are   ne\\-   VI)   fre([UcnU\'   prudueed.       As   (■IllTa'/inLT 

on  CDjin'-r  and  eii  wnod  pru^Te-vively  improved,  it  beeanie 
nec(  =.-ar\' li;at  lli"  I \  peirraiii: \'  wliieh  a-'.-onipanied  tli'-ni  vh.iuld 
n.-ii.  b',-  a  (•  •ai-"  and  eDimiii  in  apjiearauee.  <itV'-  iMit  ;.)  dis^rac" 
iliai  uiiieji  ii  -hi.iild  rival,  ami  anridire  ti,,-  irraliticalion  Avhicli 
iiiiifiii  b-  r' a--na!il\'  expi'ei'd  frem  a  uniuu  (d'the;ir!v. 

Altiieuuii  liic  piiwei-s  iii'  \\■<lu^]  erii.'ravina'  are  limit^ii,  yet.  as 
Hii  art  iin-<t  iniinia;e]\'  cennei-ted  A\-ith  our  (jwii,  its  irnportanc(; 
'-  AVi.rtiiv  i;f  b-ino'  lif'ld  in  tiK-  l,i_riiest  e-tirnaiinn;  and  Avere  we 


TYPOGRAPHL\.  ^249 

not  to  attempt  to  force  it  beyond  its  capabilities,  its  advantages 
would  be  more  esteemed.  In  consequence  of  several  first-rate 
artists  iiaving  put  tlieir  genius  to  the  stretcli,  in  order  tliat  their 
works  might  vie  with  copper-plate,  a  false  taste  has  been  pro- 
duced. It  is  true  that  some  have  sent  out  very  beautiful  speci 
mens,  affording  a  vast  variety ;  but  how  curious  soever  these 
productions  may  appear,  yet,  on  a  comparison  with  impres- 
t^ions  irom  copper,  they  will  be  found  different  things.  The  two 
ypecies  of  printing  has  each  its  peculiar  feature,  which  it  is  a 
vain  attempt  for  the  other  to  strive  to  equal.  The  deep,  soft, 
regular  black  ground  which  can  be  given  to  a  broad  surface  by 
completely  covering  it  with  fine  ink,  is  a  property  of  letter 
press  printing  which  llie  copper-plate  can  never  be  able  to  ac 
complish;  and  there  is  a  receding  in  perspective,  and  a  general 
sharpness  of  outline  belonging  entirely  to  the  latter,  which  it  is 
impossible  for  the  former  fully  to  attain.  As  it  is  a  natural  con 
sequence  of  the  different  methods  of  engraving  and  working 
off,  it  is  a  species  of  dissimilarity  that  can  never  be  entirely  pre- 
vented. In  speaking  upon  this  subject,  the  author  of  a  Printer's 
Grammar,  says:  "We  are  as  much  disappointed  in  examining 
a  wood-engraving,  in  hopes  of  finding  the  softness  of  flesh  and 
d(4icacy  of  skin  which  is  produced  by  an  artist  on  copper,  as 
we  are  disappointed  in  not  meeting  in  copper  with  tliat  broad, 
deep  shade,  and  strength  of  contrast,  which  the  engraver  on 
wood  may  always  exhibit."  Now  with  regard  to  the  irreat  cle 
feet  of  wood  engravings  in  g-eneral  thus  spoken  of.  it  is  pre- 
sumed that  a  considerable  advance  has  been  made  towards 
perfection  by  many  artists. 

No  kind  of  engraving  is  better  calculated  than  that  of  which 
we  are  here  speaking,  to  preserve  the  real  outline  and  j)ropor- 
tions  of  the  designer.  Indeed,  this  will  be  more  easily  credited 
when  it  is  stated  that  he  generally  makes  the  drawing  witli 
pencil  on  the  blo'^'k;  and  the  duty  of  the  ennTaver  is  to  leave 
those  lines  standinir,  by  cutting  away  the  interstices  with  the 
greatf;st  exactness  possible.  Thus,  as  the  most  unfinished  etcli 
iiigs  on  copper  of  the  an^^ient  masters  are  more  valuable  than 
atiy  imitations  of  them  by  a  second  hand,  so  are  the  powers  of 
tn»  I'Dgravei  on  ^voc!l   preierahl-   >.'t  •zivhrj:.  as  far  u>  drawings 


250  TYPOGRAPIIIA. 

and  proportions  are  concerned,  a  i'aithl'ul  transcript  of  the  on- 
ginal  dei^ign.  The  great  point,  tlierel'ore,  seems  to  be,  to  con^ 
sider  properly  what  is  the  real  province  of  the  art,  so  that 
expectation  may  not  he  raised  from  it,  which,  from  its  nature, 
caimot  be  gratified ;  and  the  art  and  the  artist  be  unjustly  de- 
preciated in  consequence  of  a  disappointment  which  it  is  beyond 
the  possibilities  of  either  to  prevent. 

The  difficulties  attending  the  printing  of  wood  engravings, 
are  such  as  to  require  the  greatest  care  and  attention  in  the 
printer,  otherwise  all  the  labor  previously  bestowed  by  the  de- 
signer and  engraver  will  prove  abortive:  tlie  printer  of  fine 
wood  engravings  should  have  some  knowledge  of  liglit  and 
shade,  without  which  he  must  of  necessity  find  himself  at  a 
loss  in  preparing  his  subjects  for  the  press,  however  great  his 
skill  nray  be  in  other  respects;  for  it  is  from  the  nice  touches 
alone  that  the  beauty  and  eilect  of  the  engravings  are  brought 
out;  of  these  difficulties  the  public  are  not  aware,  otherwise 
they  would  more  highly  prize  works  of  Art  on  wood,  than 
they  have  hitherto  done. 

A  difft^rence  of  opinion  exists  respecting  the  color  of  printing 
mk;  some  admire  the  glaring  effect  of  a  dark  black,  while 
others  prefer  the  sol'tened  richness  and  warmth  of  a  deep  mel- 
low tone,  whicli  is  always  pleasing  to  behold,  Avithout  in  the 
lea.-^t  being  fatiguing  to  tlie  sight.  The  printer  must  exercise 
his  judgment  respecting  the  color  and  quality  of  llie  ink. 

With  respect  to  the   Press  nothing  need  l)e  advanced;   in  st'v 
iral  of  them,  e\'ery  r»'(]uisite  I'or  Fine  Printing  is  attaineil. 

'fhe  paper  to  t)e  wet    in    such  a  manner  as  to   retain  its  firm 
ness,  vet  to    he    siil]icientl\'  snt't   to    applv  clo.selv  to  the   surlacr 
of  the  h'tter,  and  laki'  U])  all  tiic  ink:   if  too  wd,  it  will    Ire  im 
possible  til  prodiu'e  a  elrar  or  black  niipression. 

The  rdll-'rs.  on  wliieh  so  much  depi mi,  oiiirht  to  !»■  particulariv 
aiiriided  to.     (For  I'uriher  dirfciioiis,  s(>e  subse(iuent  Chapter.) 

'I'iic  tvinpans  -hnulil  always  !)(_■  kept  in  a  state  of  tcnsKjn.  b\ 
changing  or  (li'ving  the  hlankc-t.  and  removing  the  slip  sheets, 
as  they  hecdiiie  damp. 

The  bbnkeis  iiiusi  be  of'  tine  broad  cloih.  or  kersevmere,  ano 
oiilv  one  1"  be  Used. 


TYPOGRAPHIA.  251 

When  printing  large  letter,  the  surface  of  which  requires  to 
be  well  filled  with  ink,  a  sheet  of  tissue  paper,  or  common 
paper  damped,  should  be  laid  between  every  impression,  to 
prevent  the  sheets  from  setting  off  on  the  back  of  each  otlier. 

Different  opinions  exist  respecting  what  constitutes  Fine 
Printing:  some  imagine,  if  they  make  their  pages  sufficiently 
black,  that  tlie  end  is  answered;  others,  if  they  are  pale  and 
clear;  so  that  each  has  a  style  peculiar  to  himself:  therefore 
persons  contend  on  this  head,  as  though  they  were  criticising  a 
painting  or  an  engraving. 


PRL\TL\G  EXGPvAVLN'GS  ON  WOOD. 

tlAviNO  previously  alluded  to  this  subject  in  our  articles  on  Fine 
Printing  and  Making  Ready  a  Form,  it  will  only  be  necessary 
for  us  here  to  introduce  such  practical  directions,  as  are  indis- 
pensable in  obtaining  superior  impressions  from  engravings  on 
wood, 

Where  a  single  block  is  to  be  worked  in  the  centre  of  a  large 
press,  it  should  be  nnposed  in  a  small  job  chase,  and  this  chase 
aa'ain  impos(>d  in  a  larger  one,  to  prevent  the  springing  of  the 
furniture.  Bearers,  lettcr-higli.  placed  round  the  block,  serve 
to  equalize  the  impression,  and  protect  liie  etiges  from  the 
severity  of  the  pull;  they  also  render  the  subject  more  manage- 
able, by  enabling  the  pressman  to  add  to,  or  diminish  the  pres 
sure  on  particular  parts,  so  as  to  produce  the  desired  effect. 
The  first  pulls  made  after  the  block  has  been  laid  on  the  press, 
require  a  great  deal  of  care,  lest  by  too  hard  a  pull,  tlip  delicate 
lines  of  the  engraving  should  be  crushed:  these  remarks  are 
equally  applicable  to  the  printin::  of  cards  and  otlier  lighi  forms. 

The  impres-i'jn  in  an  engraving  on  v.'ooJ  ^!ioi.;'J  not  be  uni- 
turmlv  cii'jal;  if  it  bi\,  some  parts  Aviil  be  tCKj  hard  and  black, 
and  ether  p;:ns  have  neiiiier  pressure  nor  celor  enoui;!).  Aviiii 
oiiscurity  and  reua-nn'-s.  and  wiiiejiit  any  of  the  mildness  of 
the  middle  tint,  on  wliieh  the  eye  seeks  to  repose  after  viewing 
111  ■  bic  'iy'  !:::!;!-  '■w  I  de.-p  sliude-. 


252 


TVrOCIKAPHIA. 


To  produce  ilw  ilfsired  effect,  the  pressman  pulls  a  few  im- 
pressions on  soiled  or  damag-ed  India  paper,  out  of  which  he 
can  cut  overlays  to  the  precise  shape  and  size  that  are  wanted, 
which  he  does  with  a  penknife  and  a  pair  of  small  scissors, 
scraping  ihe  edges  of  the  overlay  in  many  cases,  to  cause  tlie 
additional  pressure  to  blend  with  the  surrounding  parts.  The 
overlays  being  nicelv  cut,  he  lavs  them  on  the  engraving  pre- 
cisfdv  wliere  h^'  wishes  them,  and  liaving  slightly  pasted  that 
pait  of  the  tympan  sheet,  puts  the  tympan  slowly  doAvn,  and 
presses  with  iiis  hand  over  the  block  suliiciently  ha.rd  to  cause 
the  cnerlays  to  adiiere  to  the  tympan:  this  he  re{)eats  till  his 
dark  shades  are  sulhcieiuly  strong,  and  should  the  light  parts 
tlien  be  too  heavy,  he  proceeds  to  cut  them  out  of  the  tympan 
^he(■l,  and  the  sheets  in  the  tympan  if  necessary  ;  for  in  the 
jirinting  oi'  higlilv  finished  wood  cuts,  blankets  should  never  be 
used,  a  couple  of  sheets  of  fine  smooth  paper  being  sufiicient. 

The  pressman  will  hnd  it  an  advantage  to  have  a  good  im- 
jtression  IVom  the  engraver  before  hirn  as  a  jxittern,  and  then 
arrange  the  overla\s,  6cc.  until  he  protiuces  a  facsimile  in 
( iT"-ct:  but  it  wnuld  hi'  still  better  for  liim,  could  he  obtain  the 
assistance  ot'  the  artist  at  the  pre,--s  side. 

It  is  indispensably  necessary  in  the  production  of  line  piint- 
iii2'.  of  \\liatt\-('r  kind,  that  the  workman  sliould  be  suj^plnti 
with  tlu'  lin(-st  ink.  and  a  smootii  hard  pa])er,  an.d  tliat  his 
lolli-i^  or  ball.-,  till'  latter  being  preferable  for  wood  en::'ravings. 
should  be  in  tlie  be>t  order. 

A  fine  eiii;ravin:r  on  weujd  should  alwavs  be  wa.-hed  wiiii 
Sjiirils  of  W  ine.  and  wlieii  out  ot' use  sliould  inv;iriab'\'  be  krp! 
Willi  it'-  faee  diiwnward  in  a  I'otd  plaee.  [f  an  en2:raviiig  waiji. 
II  iiias'  },'■  ^iraiiriiteiied  b\-  layiuL:  llie  ci)U<-a\-e  side  on  a  i'tw 
-lie't>  ol'i!ain[)  ])aner  for  a  short  time. 


<  iliAAMh.M'AI,  Pin-\rL\(J 
L  Mit.ii    t,ii-    -.  rieral    lead,    we  v.ill    attempt    to    describe    tlie 
various  kind-  ot'  <  )rnninenial  Priiitin::  whieh    have  sj)riuig  into 
exi-ieiie.'.  a-;    u  Were,  within    ilie  Ja-i  t\veni\'  \-f-ar-:    and   f'roni 
our  having'  been   alii;-.-t   ex'-iusiveK  enc^'au'ed  in  that  branch  of 


TYFO(TnAl'l]fA.  25:] 

the  art  during  the  greater  portion  of  that  period,  it  will  no  doubt 
be  expected  of  us  to  explain,  for  the  benefit  of  the  uninitiated, 
the  result  of  our  experience. 

Card  Pri.vting  has,  perhaps,  since  the  introduction  of  Ena- 
melled or  Polished  Cards,  made  more  rapid  strides  towards 
perfection  than  any  other  branch  of  the  art;  the  fine  absorbing 
quality  of  the  Enamel,  under  proper  management,  producing 
the  most  beautiful  results,  in  many  cases  scarcely  discernible 
from  copper-plate.  A  card,  to  be  well  printed,  requires  the 
•<ame  treatment  as  a  wood  engraving,  (see  article  on  that  sub- 
ject) at  If'ast  so  far  as  the  making  ready  is  concerned,  and  also 
m  being  worked  without  blankets,  and  with  the  finest  ink. 
Having  made  a  light  impression  on  our  tympan  sheet,  we 
place  our  pins  so  as  to  bring  the  impression  as  neaily  as  pos- 
sible in  the  centre  of  tlie  card,  one  pin  at  th^  lower  side,  and 
two  at  the  oiT  side,  taking  care  that  the  liead  of  the  pin  does  not 
come  in  contact  witii  the  type^.  Tiie  pull  should  be  exceed- 
ingly light  until  properly  regulated,  having  at  no  time  more 
than  is  actually  necessary  to  bring  up  the  face  of  the  tvpe. 
Composition  Balls  should  be  used  for  all  small  forms  on  the 
ordinary  hand  presses,  where  fine  printing  is  required.  (S^e 
Ijalls.)  The  printing  of  (.'ards  has,  howvcr,  been  carried  to 
sucli  an  extent  of  lat-'.  that  tliey  are  now  printed  on  small  card 
maciunes  at  the  rate  of  on^,  two,  and  even  three  thousand  per 
hour;  we  have  two  of  these  machines  in  use,  one  capable  of 
printinir  one  thousand,  and  tlie  other  tlu^ee  thousand  per  hour. 
All  prepared  cards  must  be  printid  Vvithout  wetting,  and  it  is 
now  ver\'  roiinnon  to  print  all  kinds  dr\'. 

(ioi.D  PiiiNTi.vi;.  like  most  other  novelties,  lias  had  its  dav, 
but  i^  now  more  sparingly  used;  tlie  proce^<,  even  now,  is  not 
generally  known  by  the  profession.  althou2'h  within  the  power 
oi'  all.  The  lype>  are  composed,  and  made  readv  at  liie  ]jre:~s  in 
the  U'-iial  manner.  A  pot  of  irold  size  is  liien  procured  from 
llie  Ink  maker,  or  Printers'  Warthou-e.  with  which  tlie  form 
i.v  inked  in  the  ordinary  mann(-r.aad  the  impression  taken  upon 
tiie  jjaper.  'I'he  bool:  ot' Leaf  Ciold  havinir  been  jireviouslv  cut. 
if  for  a  lar^e  job,  by  merely  taking  off  the  back,  if  for  a  small 
one.  by  cutting  it  into  pieces  the  size  of  tiie  printed   impression, 


254  TYPOGRAPTIIA. 

which  is  done  by  pressing  a  straiglil  edge  across  it,  and  cuitiiig 
It  througli  with  the  point  of  a  sharp  penknife,  we  proceed  to 
laying  on  the  gold  in  the  following  manner :  we  slightly  wet 
the  end  of  the  fore  finger  of  our  right  hand,  and  having  placed 
the  thumb  of  that  hand  on  the  pile  of  gold,  we  raise  the  edge 
of  the  paper  with  the  fore  finger  sufficiently  to  dampen  it  with 
the  moisture  of  that  finrjer,  llien  pressing  the  moistened  edge 
of  the  paper  on  the  gold,  it  will  adhere  sufficiently  to  enable  us 
to  lift  gold  and  paper  together,  and  place  it  on  the  impression, 
and  so  we  proceed  until  it  is  entirely  covered;  we  then  gently 
pat  the  gold  with  the  balls  of  the  fingers,  or  any  soft  pliable 
substance,  until  it  is  set,  when  witii  a  verv  soft  Isal  brush,  we 
brush  ofl'  tlie  superfluous  sold,  leaving:  a  clear  and  beautiful  im- 
pression of  the  subject  in  hand.  Tlie  sharpness  of  the  print 
will  varv  with  th(^  jiulumient  of  the  printer  in  the  quantity  oi' 
sizing  applied  to  the  tvpe:  for  if  the  press-work  be  bad.  the 
{)rint  will  be  bad  also. 

Bronze  Prt.vtixg  is  more  extensively  used  than  gold  print 
iiirr.  bfinir  attended  usuallv  with  less  tiian  half  the  expense  in 
the  co^t  of  the  material  ;  the  method  of  printinir  is  tlie  si'.mi'. 
except  that  in-lead  of  laving  on  the  £ruld  leaf,  tlie  iuijire^vjon  i^; 
rul)l.)^•(l  (i\-iT  ■\\'iih  th'^  bronze.  Ijv  liiiijiiii:.:  a  small  lilock  covered 
\\'itli  a  -liort  fine  fur  into  liie  [)'i\vder.  aiid  bru-liino'  idf  the 
si]{)erflnous  bronze  wiia  a  ^nft  bru<li,  as  in  2'"1'!  ju-intino'. 
Uronze  can  be  jjrficured  (if  ^■ali'lns  colors,  and  \\'h.'U  laid  nn 
with   judfruu-iit.  tlif  efi'--ct  i::  heauiifiil.  '!'!;(■  pah-st  bronze  i-  be^t. 

XYi,o(.i;ArHic  Pj;inti.n(;.  >i:,niilit-  liii-ral!v.  priniin:,'-  frcui 
worid.-n  b]i.i-]>-.  but  it  is  ciimmonK'  applied  to  a  -pccics  ot'  <)r- 
nam-  ntal  ]'.i  M-'b-riiiir  cut  in  t\  pe  ii!<-l;i|.  liu'  jiriii'is'.LT  ol'  wliicji  is 
fiiiiri  tlie -uit'ac.'.  t)-iiall\-  ui  ciiinrcd  iiik<.  In  1  ■'•_'7  w>- i!i-ci.\-,  ]■'■(! 
;i  mc'l'-.  wliic'ii  is  pracii-.'d  tn  S' ^m.-  cxt>';i!.  bv  v.'liicii  tw^  c-. 
lnr-  c'.<\]  b"  print'. i  at  nnc  impri----i.iii  :  tins  is  li.ii..  |,v  l;a\'i!iL; 
iwd  plai-  s.  till'  iiup-r  I  'ii.'  bliick'-l  i:i  lie  i;-i:al  i;.aiiiii  i-.  liic  (l^Il■r 
l.in    iiiiivi  aMc.  and  made  tn  tji  ,:\-ry  it.  i.-vi'n-r  ,.i,  il,,.  va.nic  block. 


TVPO(;[lAP[IlA.  255 

FRlXTlXfJ  I.\  COLORS?. 

The  art  of  printing  in  colors  has  iieretolbre  been  almost  en- 
tirely neglected  in  this  country;  at  least  as  far  as  relates  to  the 
erabellisliing  works  of  ordinary  excellence  with  vignettes,  capi- 
tals, tail-pieces,  and  other  devices  of  fancy,  in  beautiful  tints, 
in  the  manner  of  the  early  typographers.  This  may  very  easily 
be  accounted  for.  To  print  in  two  colors  occupies  more  than 
twice  the  time  necessary  to  print  in  one:  and  it  also  requires 
more  skill  and  ingenuity.  These,  unfortunately,  must  be  paid 
i'ur;  and  this  pecuniary  consideration  is  sufficient  to  banish 
from  our  pages  this  lovely  art.  So  did  not  our  forefathers; 
they  took  pride  in  choosing  tiie  most  tasteful  designs,  the  most 
iiarmonious  colors,  to  illuminate  their  productions,  and  beguile 
tl'.e  reader  into  study  by  the  illusive  charms  of  gold,  and  blue, 
and  crim-on.  Fortunately,  either  time  was  of  little  value,  or 
the  exclusive  possession  of  the  market  enabled  them  to  demand 
remunerating  prices  for  the  time  thus  well  bestowed;  but  in  the 
bustlp  and  competition  of  our  more  mercantile  days,  time  is 
money,  and  blue  and  gold,  scarlet  and  green,  give  way  to  the 
equally  useful  but  infinitely  less  beautiful  uniformity  of  unre- 
deemed black.  In  this  article  we  propose  to  give,  onlv  the 
method  of  printing  in  colors,  as  now  in  general  use,  having 
under  the  head  of  Ornamental  Printing,  adverted  to  a  new 
method  which  we  have  recently  invented,  called  Polychromatic 
Printing,  for  further  particulars  in  relation  to  which,  we  refer 
the  reader  to  that  artiele.  The  fjllowing  remarks  relate  to  the 
printing  of  red  and  black,  the  same  process  bein^  applicable  to 
all  other  colors. 

When  red  and  black  are  to  be  printed  on  the  same  sheet,  the 
firm  is  made  ready  in  the  usual  way.  and  a  line  traced  all 
r'.und  the  outside  of  the  chase  on  the  jiress  witli  chalk,  or  anv 
I'iiiiiii:  that  will  aecurately  show  th"  exa-'t  situation  in  which  the 
t'>ri:i  must  be  placed  alter  it  has  be^en  taken  olT  the  jjres";.  The 
pr-  ~-;man  then  [nilis  a  >hei't  in  order  to  get  thijse  words  or  lines 
maik^'d.  which  are  to  be  wnrked  red:  ^vhile  thi^  is  doin^.  he 
v%-a^hes  the  form  thoreni:hl\  .  as  the  li  a<t  dirt  remaining' on  it 
u'lll  vle^trov  the  !)i';iut\-  ol'  tlie  reij.     ']'],,■  t'.rin  is  then  laid  with 


2m  typoCtUaphia, 

its  face  downwards  on  a  Icttpr-board  covered  with  the  press 
blankets.  Those  Avords  marked  to  be  red  are  then  forced  down, 
(which  the  soft  and  spongy  nature  of  the  blankets  readily  admit 
of,)  and  Nonpareil  reglets  nicely  fitted  into  the  vacancies,  which 
raise  the  red  lines  and  words  all  of  an  equal  distance  from  the 
other  matter.  A  sheet  of  paper  is  then  pasted  on  the  form, 
which  keeps  the  Nonpareil  underlays  in  their  proper  places. 
The  form  is  again  laid  on  the  press,  observing  the  utmost  care 
in  placing  it  agreeable  to  the  marks   before  made  on  the  press. 

It  must  then  be  made  perfectly  fast  to  the  corner  irons,  as  it 
is  highly  important  that  it  remain  firm  and  immoveable  during 
Its  stay  on  the  press.  The  frisket  (which  is  covered  with  strong 
paper)  is  then  put  on,  the  form  rolled  over  with  tlie  red  ink, 
and  an  impression  made  on  it.  The  red  words  are  then  cutout 
with  a  sharp  jjointed  penknife,  with  so  much  nicety  as  not  to 
admit  the  smallest  soil  on  the  paper  from  the  other  matter. 

Tlie  red  being  finished,  and  the  form  washed,  the  compositor 
unlocks  it,  (which  is  best  done  on  the  imposing  stone,  as  the 
pressman  can  easily  lay  it  agreeable  to  the  marks  made  on  the 
press,)  and  draws  out  the  red  lines,  and  fills  up  the  space  with 
quach'ats.  When  this  is  done,  the  })r!  ssmau  cuts  out  the  frisket 
for  tlif^  black.  An  extra  pair  of  i)oints  are  used  to  prevent  the 
black'  froin  falling  on  the  red,  Avhicii  is  ternred  ridiui^-.  When  a 
great  number  is  to  be  printed,  two  forms  are  generally  used, 
one  lor  the  red,  and  another  fijr  the  black,  or  as  manv  i'orms  as 
there  arc  colors  to  be  printed.  There  is  anotlicr  lar'thod  of 
[)lai'inL{  tlie  untlerla\s.  which  is  adojjtcd  i'or  lircjadsidcs,  vS.c. 
wiih  lar:re  IcU'T,  and  witli  pi'rliaps  only  two  or  three  lin(\s  of 
red  in  thciii.  I'lii'  red  lines  are  lakiii  out  on  the  press,  antl  the 
underlaw-  put  in  with  a  bodliiii.  upon  which  these  lines  are 
])laced.  ami  tie-  iVi^lvfl  cut  out  as  helnre  menlioned. 

Tlie  ciivtm;;  i,r  priutuiir  broadsulcs,  6vC.  ^\■|th  various  colors, 
haviuLT  li'i'Miii,-  so  iiiiich  into  irincral  use,  has  induced  most 
of  our  iii!>:  makers  to  ttini  ih^'ir  aUenlion  lo  llie  manutacture 
ofcohirid  ink-:  coiisi^iui-nth'  lie;  [Tim. t  can  now  be  supplied 
with  liiat  aitick'  wiiiiout  the  dcjav  and  lalxjr  of  makiiig.  We 
il'wr  til''  lollowinL''  pa:  ticulars.  hijwcver,  for  the  henclil  ul'  those 
wiio  wisii  to  iiri'pari-  licirtjwn  coli.rs 


T  VI 'GO  [{A  PI  I  [A.  !2r>7 

Varnisli  is  tlif  common  mpiistrnum  adopted  for  all  colors  in 
printing.  Red  is  the  color  generally  used  with  black.  Trieste, 
or  English  Vermillion,  with  a  small  porlion  of  lake,  produces  a 
beautiful  red,  which  should  be  well  ground  with  a  muller  on  a 
marble  slab,  till  it  be  perfectly  smooth.  If  it  be  in  the  smallest 
degree  gritty,  it  clogs  the  for::i,  and  consequently  produces  a 
thick  and  imperfect  impression;  no  pains  should  therefore  be 
spared  to  render  it  perfectly  smooth;  it  may  then  be  made  to 
work  as  clear  and  free  I'rom  picks  as  black.  A  cheaper  red,  but 
not  so  brilliant,  mav  be  prepared  with  orange  mineral,  lose 
pink,  and  red  lead.  The  Prussian  blue  makes  also  an  excellent 
color,  and  will  require  a  good  deal  of  time  and  labor  to  make  it 
perfectly  smooth.  It  is  also  ground  with  the  best  varnish,  but 
made  considerably  thicker  by  allowing  a  greater  portion  of  color 
with  the  same  quantity  of  varnish,  than  the  red;  it  will  then 
work  clear  and  free  from  picks.  x\s  this  color  dries  rather 
rapidly,  the  rollers  or  balls  will  require  to  be  frequently  washed. 

Other  colors  may  be  made,  viz.  lake  and  Indian  red,  which 
produce  a  deep  red;  verditure  and  indigo,  for  blues;  orpiment, 
pink,  yellow  ochre,  for  yellows;  verdigris  and  green  verditure, 
for  green,  &c.  All  these  colors  should  be  ground  with  soft 
varnish,  being  in  themselves  dryers,  or  they  will  so  choke  up 
the  form,  as  to  require  it  to  be  fre(]uently  washed;  the  consis- 
tency of  the  ink  must  be  governed  by  the  qualify  of  the  work 
to  be  executed;  for  a  posting-bill  or  coarse  job,  the  ink  should 
be  very  thin,  the  proportion  of  varnish  being  much  greater  than 
when  required  for  fine  work;  should  the  work  be  a  wood  cut, 
or  small  type,  the  pigment  should  be  made  as  thick  as  possible. 

In  working  the  above  colors,  there  will  be  a  great  deal  uf 
difficulty,  unless  they  are  ground  perf(>cllv  smooth  :  too  much 
care  and  labor  cannot  therefore  be  bestowed  upon  them. 

The  best  colors  for  printing,  are  those  of  the  lightest  boily  and 
!.>rightest  color. 

[foiling  ley,  made  of  American  potash,  should  be  used  for 
wa'^hing  th(^  forms. 


CHAPTER    IX 


IXKIXG  APPARATUS. 


I'o  procure  a  frood  press  beiiiir  a  primer's  first  eare,  his  next  is 
the  bfst  manner  of  applvin^^  the  ink  to  the  type,  so  as  to  pre- 
serve a  perfect  uniformity  of  color;  to  gain  this  end,  has  been 
the  studv  of  many  in  ihf^  jjrofession ;  and  various  have  been 
thfir  exiicrinients  to  accomphshi  this  desirable  object. 


BALLS. 

Pi'.r.Ts  were  ff.rn'ierlv  used,  and  when  in  perfect  order  Avould 
produce  good  work;  but  the  diilicukv  of  putting  them  in  order, 
i'ud  ihn  filiiiiness  anendiu:r  tiicui.  h'd  Vj  the  introduction  of  ihe 
df'^^ed  <hecp  .^hins,  now  in  us(-  with  tho^e  who  still  continu*- 
lli<-  prnciicc  (if  bcatint^:  a  practiff  ■whicli  must,  in  genera!, 
giv.'  [)];[<■>■  1m  tiic  more  pcrfei't  tii'idi'  of  rolling. 

< ',)n)j)oMiiijn  Lalls  are  mad'-  as  ih^cribfd  bi-low,  subslitutin:^ 
in^i'ad  of  til.'  skill,  a  cotton  cloth:  the  ball  beinji  i)roperlv 
kiiork'ii  u{),  liui-t  tlien  be  dip[)''d  into  the  mehf-d  composition, 
and  lifld  in  iho  hand  till  it  form,';  a  smooth  surface  on  ih*' 
fai'''.  and  is  ])orf»'Ctly  C(j(j1,  alter  which  we  repeat  the  dippir.i: 
nntd  a  :~uliicii'nt  thickness  of  composition  is  obtained,  v.-hru 
1!    will   r<-iiiiiit-  tlie  same  treatment  laid  down  lor  rollers. 

AVe  intr(-duce  the  following  account  of  Pelt  Balls,  in  order  to 
siiow    the    important   alteration  wliich    has   taken   jilace  in  tlil^ 
r>-].<et.  but  more  jtarticularlv  to  give  tlie  printer  proper  direc 
li-ii-  1-r 

KXorKlXf!  VV  ]I\T.LS. 

1'!  i.T--  are  u -'  (1  lor  thi<  purpose,  and  such  are  cliosen  as  have 
a  -T'Iil:  L^r;iin.  and  the  o-rea^-e  -well  worked  out  of  them.  l'lie\- 
'.{('■  I'll icii'i^' d  eiiiier  Wet  or  ilr\':  it'dr';.  th(-v  arf-  [lul  to  soak  m 
'■iwiui!.-  r  f  \  ,    ( )!,!■  -!on  l''  iieial;\'  make-,  iwn  proper  -^ized  ';alK. 


TYPOGllAPHIA.  2:"i9 

When  the  skin  has  soaked  sufliciently,  which  will  requin,' 
about  fourteen  or  fifteen  JAOurs,  it  is  taken  out  of  the  ley,  and 
curried;  that  is,  by  putting  the  skin  round  the  currying  iron,  or 
any  upright  post,  and  taking  hold  of  each  end  of  it,  and  draw- 
ing it  with  as  much  force  as  possible,  backwards  and  forwards, 
against  the  post,  which  discharges  a  good  deal  of  the  water  and 
lime,  and  renders  it  more  pliable ;  he  then  cuts  the  skin  exactly 
in  two,  and  puts  them  unJ.er  his  feet,  and  continues  to  tread 
them  till  he  is  unable  to  discover  the  smallest  particle  of  water, 
or  till  it  sticks  to  the  foot  in  treading.  The  skin  is  then  laid  on 
a  wetting  board,  or  a  vacant  stone,  and  stretched,  by  rubbing 
the  ball  stock  on  it,  as  much  as  possible.  He  then  places  a 
lining  (which  is  a  worn  out  skin,  and  w'hich  has  been  pre- 
viously soaked,  but  not  trodden,)  on  the  skin,  and  nails  them 
with  one  nail  to  the  ball  stock;  he  then  proceeds  to  lay  the  dif- 
ferent cardings  of  the  wool  one  upon  the  other,  crossways,  till 
he  has  sufiicient  for  the  ball;  he  then  takes  it  up  by  the  bottom 
corners,  and  grasps  it  into  a  circular  form,  with  which  he  fills 
the  ball  stock,  then  brings  the  skin  opposite  the  part  already 
nailed,  and  makes  that  also  fast  with  another  nail.  He  then 
puts  two  nails  immediately  opposite  each  other,  between  the 
fastenings  already  made,  and  proceeds  to  put  the  skin  in  plaits, 
about  an  inch  widi':  through  each  plait  a  nail  i«  driven;  the 
superfluous  skin  should  then  be  cut  ofT.  within  half  an  inch  of 
the  nails.  Balls  an^  well  knocked  up  when  the  wool  is  so 
placed  as  to  form  a  I'ull  even  i]ii'(\  that  every  pan  of  the  skin 
may  bear  upon  the  l('tt(T;  not  ri.~^ing  in  hillock-^,  or  falling:  into 
dales;  no!  having  too  mucli  wool  in  I'lieni.  for  th;it  will  render 
tli<Mn  soon  hard  and  uneasv  fur  the  pressman  to  work  with;  or 
too  little,  for  that  will  make  thf  skin,  as  ilie  wool  settles  witii 
working,  soon  Ih'p.  and  wrap  over  into  wrinkles,  so  that  [,<• 
cannot  so  well  distril)ule  the  ink  on  liis  balls. 


>:Tvi:\    ilOLT.EilS. 

It  appears  tiiat  the  skin  rollers  wimt  nut  u<ed  in  F,n2:land. 
Thev  wer*^  lirsl  iniroiluced  in  tM<  coimlrv  bv  a  Mr.  Maxwell, 
ut    Philadelphia,    alioui    the  vear  ISmT,  and    soon    aftpr   bv  hit 


'VGO  TYP0(;TI.\PPIIA. 

abandoned,  not  heing'  alilc  Id  make  them  work  properly  :  they 
remained  out  of  use  i'or  several  years,  until  they  were  again 
introduced  by  Mr.  Fanshaw,  of  Xew  York,  about  1815  They 
were  never  considered  so  good  as  balls:  being  too  heavy  lor 
the  hand,  they  were  always  used  behind  the  press. 


COMPOSITION  ROLLERS. 

In  noticing  the  composition  rollers,  we  shall  present  to  the 
reader  all  the  information  that  we  have  been  able  to  collect, 
together  with  the  observations  resulting  from  a  practice  of  nearly 
twenty  years. 

This  composition  appears  to  have  been  discovered  by  the 
mere  chance  oliservation  of  a  process  in  the  Staffordshire  pot- 
ierios,  in  which  thev  use  what  are  there  called  dabbers.  These 
were  formed  of  a  composition  which  appeared  to  possess  every 
requisite  for  holding  and  distributing  the  ink,  imparting  it 
equally  over  the  form,  and  being  easily  kept  clean,  soft,  and 
pliable.  Mr.  B.  I'^jster,  a  compositor  at  "^Veybridge,  England, 
was  the  first  who  a])p]ied  it  to  h'tter-press  printing,  (al)out  tlie 
year  1S1-")  l)v  spreading  it.  in  a  melted  state.  uj)on  coarse  can- 
vass; and  making  balls,  in  all  other  resprcts,  in  the  usual  man- 
ner. Tlie  inventors  uf  j)riiitin;z  niacldnrnj  f^oon  caught  the  itlea, 
and  bv  running  the  composilion  as  a  coat  upon  wooden  cylin- 
ders, ])roduced  the  a[)])aralus  so  lonij  and  unsuccessfully  sought 
for.  and  without  wliicii,  niachiiie  printing  would  never  have 
snC'^eeded. 

Roll'is,   like  most  other  iiii|)rovement';,  have  met  with  con- 
siiii'iab!''  (i;ipusitiMn  ;   vet  tiitir  superiority  ini;<t  certainly  Ix*  ac 
k-ii..wli-(l:_r,.j|  l,v  ;ill  who  ha\-e   b.-cciuc  jjii-fc'ily  aiMjiiainti-d  wiih 

I'lKill. 

A-  \\\\<  (■(jiuposiiii'n  has  now  becomi'  one  of  tlie  most  essen- 
tial re(|nwiti  -  of  a  i)riniini:  oiric".  and  as  most  printers  are  de- 
siiuMs  (,r  iiia.kin^:  tlieir  own  re//;  r.s-.  (which  plain  name  seems 
t'l  iia\('  bi'iij  ^-i-nciallv  adoptid  fur  liie  revoK'ing  c\liniier,)  ^^^i^ 
shall  eiidiavor  !o  lii 'sc-ril)''  liir  propoitiiin  of  il^  mgreilimts,  and 
In  prineipal  ad\anla:jes  :   the    fir.-I.  and    most    important,  is  tliat 


TYrOGRAPHIA.  261 

of  doing  clean  work;  in  this  respect  they  are  decidedly  better 
than  balls,  as  it  is  seldom  necessary  to  take  out  picks,  or  clean 
the  head  lines;  and  a  roller  is  frequently  worked  all  day  with- 
out the  necessity  of  cleaning  it.  The  next  consideration  is  in 
point  of  rht^apness,  when  compared  with  balls.  The  pressman 
will  also  find  that  they  require  but  little  attention  when  he  has 
become  perl'ectly  acquainted  with  them.  The  softness  and  deli- 
cacv  of  tiie  composition  render  it  less  liable  than  balls,  to  injure 
tiie  tine  hair  strokes  of  the  letter — this  consideration  alone  is 
sufficient  to  warrant  an  experiment.  The  great  saving  of  ink  is 
also  an  object  worthy  of  attention,  for  as  it  cannot  penetrate 
the  surface  of  the  composition,  there  can  be  but  little  wasted. 
Tlie  composition  is  made  of  tlie  following  ingredients,  viz. 
For  a  Medmm  roller. 

Three  lbs.  of  best  Glue. 

Tliree  pints  of  sugar-house  Molasses. 

One  table-spoonful  of  Tar. 

This  is  calculated  for  approaching  cold  weather,  but  it  is 
necessary  to  reduce  tlie  quantity  of  molasses  to  one  quart  I'or 
summer  heat;  and  in  proportion  for  any  intermediate  tempeia- 
ture.  The  mould  best  calculated  to  receive  the  composition, 
slioulJ  b(^  made  of  brass,  copj)er,  or  iron,  witli  the  interiijr  well 
polished.  Tlie  above  quantity  of  composition  is  iiiti'iided  for  a 
roller  of  twetily-sevc-n  inches  in  length,  and  three  and  a  half 
inches  diaim'ter,  with  a  wooden  cylinder  of  two  and  a  halt'  in 
ches  diameter,  which  will  give  halt'  an  im.'h  ihiclaiess  ot'  coia^ 
position.  Till'  thickness  of  the  cmiiposition  may  be  varied 
according-  to  the  size  of  the  wouden  cylinder. 


DIRECTIOXS  FOK  AIAKLXG  COMPOSITION. 

The  glue  must  b.^  put  into  a  bucket,  or  vessel  containing  water 
enough  tD  rijver  it,  and  rfiiiai!!  in  soak  tlve  or  six  hours,  or 
until  it  shall  liavi'  soaked  ivarly  liir:iu::fh.  leaviuo'  abeut  one-- 
liiird   drv  in  th-  centre,  v.'hich   m.iv  b"  asc-rrtaiii^'d   by  breakin^' 


2(32 


TYPOGRAPHIA. 


a  piece  of  h;  it  is  liieu  taken  out  of  the  water,  and  laid  on  a 
board  to  dry  for  ten  or  twelve  hours,  when  it  becomes  pliable 
like  a  piece  of  sole  leather,  the  water  having  penetrated  through 
the  centre;  it  is  then  in  a  proper  slate  for  melting,  and  should 
be  put  into  the  melting  keill.c. 


This  inusi  he  a  d()it4)li'  vessel  like  a  glue-keltle,  so  that  the  com- 
piisilioii  ill  the  inner  kcttli'  iiuu  bi'  nidieil  by  ihr  Iwat  of  fiie 
bdihnc  \\';iliT  in  tli<>  (;iit<T  one.  for  tliis  p!iri)Ose,  an  iron  jiot 
nr  a  stroiiij^  hoilci  uiav  he  lie'  best  or  rciulicst  tiling;'  found,  inio 
wliii'li  111  a  tin  vessel  h''  lillcd,  willi  a  fhuii'li  to  rcsl  on  the  liiii, 
so  as  lo  loa\T  oiic  or  two  nirlies  under  it.  'J'his  vrssfl  nia\'  bo 
u\'o  or  throe  inclios  aho\'e  tlie  toj)  of  tlie  iioiler,  and  so  that  tlie 
!id  ol'  oiii'  iiiav  ill  ihi'  oilier:  it  niii-t  al-o  lia\'e  a  liis  for  pourin:^ 
out  ilio  ''onijiosition. 

Iioiiil;'  lliiis  prcpaiod.  put  tiio  i;iuo  into  the  inner  vessel,  tlie 
boii:-!-  ha'.inir  ill  it  ;i-  iiiui'li  water  a^  it  will  contain  wluni  the 
I  I'loi- \es'-i.|  i-.  111  \]<  phe-e.  I'lit  it  on  til"  fio.a.nd  lieep  the  water 
b. 'iini'.r,  llio  iioal  of  wliieh  will  <vi)]\  caii<e  the  i,;;liie  to  dis- 
S'!\e.  and  i'\aporate  part  of  tie-  wator.  Wlnai  tlie  glue  is  all 
molted,  the  niolasves  siioiild  he  poiirod  sjeuly  into  it.  stirring  it 
••.11  '111-  whii'v  and  >li"iil\   ai'io,-  lue  tar  >hould  i)o  added:   the  lat- 


TYPOGRAPHIA.  263 

ter  ingredient,  however,  is  not  considered  important  in  the  com- 
position, as  but  few  printers  make  use  of  it;  the  water  should 
then  be  kept  boiling  for  at  least  two  or  three  hours,  occasionally 
replenishing  it,  during  which  time  the  composition  should  be 
frequently  stirred,  when  it  will  be  ready  for  pouring. 

Having  given  the  receipt  which  we  think  most  favorably  of, 
and  which  our  long  experience  has  fully  tested,  we  will  now 
present  the  reader  with  several,  the  merits  of  which  we  are  un- 
ible  to  appreciate,  never  having  tried  them. 

Mr.  Hansard,  an  eminent  English  printer,  and  to  whom  we 
are  indebted  for  much  valuable  information  in  relation  to  our 
Art,  says — -'  Take  glue,  made  from  the  cuttings  of  parchment 
or  vellum,  fine  green  molasses,  pure  as  froni  the  sugar  refiners, 
and  a  small  quantity  of  the  substance  called  Paris-white,  and 
vou  will  have  every  ingredient  requisite  for  good  composition. 
The  proportion  as  follows: — 

Glue,  2  lbs.  Molasses,  6  lbs.  Paris-white,  ^  lb. 
Put  the  glue  in  a  little  water  for  a  few  hours  to  soak,  pour 
off  the  liquid ;  put  the  glue  over  the  fire,  and  when  it  is  dis- 
solved, add  the  molasses,  and  let  them  be  well  incorporated 
together  for  at  least  an  hour;  then  with  a  very  fine  sieve,  mix 
the  Paris-wlii'e,*  frequently  stirring  the  composition.  In  another 
hour,  or  less,  it  will  be  fit  to  pour  into  the  mould. 

Another  receipt  says  2  lbs.  of  Glue  to  1  lb.  of  Molasses. 

Another      ...       2 3 

Another      ...       o G 

Add  to  the  last  receipt  12  drops  of  the  following  liquid: 
"A  piece  of  sal  ammonia  about  the  size  of  a  nut,  powder  the 
same  with  about  two  ounces  of  Pearl-ash,  and  dissolve  them  in 
a  glass  of  clear  water." 

*  This  is  the  carbonate  ot  barytes,  terra  ponderosa,  or  ponderous 
earth ;  the  most  active  of  alkaline  eartlis ;  and  acts  upon  the  animal 
economy  as  a  violent  poison.  It  is  found  in  combination  either  with  the 
sulphuric  acid,  forming-  tiie  native  sulphate  of  barytes,  or  heavy  spar. 
It  is  chiefly  used  in  adulteration  of  paint,  giving  a  body  almost  equal  to 
white  lead.  It  is  very  ditliculi  to  be  obtained  pure,  being  often  substi- 
tuted with  Faris-whiie  ot  the  oil  shops,  which  is  nothing  more  than  a 
hiicr  kind  of  whiting. 


261  TYPOGRAPHIA. 

In  the  Printer's  Manual,  a  small  work,  published  in  .New 
York,  we  see  recommended  two  pounds  and  a  half  of  glue,  and 
two  quarts  and  a  pint  of  molasses.  With  such  proportions,  we 
cannot  doubt  the  necessity  of  his  introducing  something  like  the 
following  :— 

"  JVashing  Rollers. — A  method  iias  long  been  sought,  by 
which  rollers  might  be  cleaned,  U'ithout  icashittg  the  molasse$ 
from  the  glue.  It  has  at  length  been  found.  Take  a  sufficient 
quantity  of  common  ley,  and  aad  a  little  fine  salt;  it  is  by  far 
better  than  any  other  way  by  which  rollers  can  be  washed. 
The  potash  destroying  the  oil  in  the  ink,  it  no  lon:rer  adheres  to 
the  composition;  and  the  salt  counteracts  the  effect  the  water 
would  otherwise  have  on  the  molasses." 

It  will  be  observed  that  the  above  receipts  differ  verv  materi- 
ally; and  as  the  composition  is  subject  to  the  changes  of  the 
weather,  its  consistency  must  greatly  depend  on  the  judgment 
of  the  workmen.  Of  tlie  above  receipts,  we  are  disposed  to 
think  most  favorably  of  ]Mr.  Hansard's ;  but  cannot  admit  its 
superiority  over  the  one  previously  laid  down. 


PREPARIXG  THE  MOLLD. 

I.v  preparing  the  moulil,  care  should  be  taken  to  iiave  its  inte- 
rior surface  perfectlv  free  from  anv  particles  of  dirt,  or  compo- 
sition; it  should  then  b-'-  well  oilevl  witli  a  swab,  kept  for  that 
purpose,  at  trie  same  time  beins'  p.nrti'Tilar  n^jt  to  leave  too  inui:h 
on  tiie  surfi':e,  as  it  will  run  wiii^n  the  liF-at  of  th*^  composition 
com''S  to  it.  and  cau-p  an  imj;*  rfeet  face  on  tl\p  r'iller:  the  en^l 
piei-es  .-hould  then  be  oilrd.  and,  tozethe-r  witii  tiir-  rvlinde-r. 
phi''"'d  in  ihe  mould,  t'.ie  ujmmt  <-!id  jjii-rc  b'-iui:  very  op»-ii  !" 
allow  t:;c  coinpci-iiion  to  [)a'-s  down  betwcii  tin-  iiii'.Tior  of  tii^' 
niuuld  and  liie  cylinder.  Tli'^  ';;,  liieJcr  must  bi'  well  S'-cur^d 
tVuia  ri-iii:,%  b'-fofi'  tiie  i;oi:i!!'<>iiion  i-  j)i.'ured  in,  i;y  placing  a 
^lifk  ujion  tii'>  erid  of  it,  siililci'-nth'  long  to  r'.nc'u  abo'.'e  tiie  '?nd 
of  ;::e  nioi;!  1.  and  bf  ti"d  c.)V;i\  v,-it:i  twin'\  'i'ue  coinposil'on 
s'.io'ild  }>'■  \'<  iiir.'d  v>TV  >li-v\Iv.  and  in  ^^^vii  a  manner  as  i-j 
ca'i<e  it  (iii!\-  to  run  d'lwn  f'Tn  si'r  rf  the  ^'viiiid'  r.  rdiowin;^  tiie 
air  to  e>rap("'  fr-*^ly  up  '\\f^  i~';u"-r. 


TYPOGRAPHIA.  265 

If  the  mould  is  filled  at  night,  the  roller  may  be  drawn  on  the 
following  morning,  but  should  not  be  used,  for  at  least  tAventy 
four  hours,  except  in  very  cold  weather;  it  should  be  cleaned 
npiore  it  is  used,  by  rolling  it  about  the  floor  until  its  surface  is 
covi.-red  with  dust,  then  with  a  sponge  wash  it  off  quickly  with 
water,  wipe  it  dry,  and  let  it  remain  until  in  a  proper  state  for 
working. 


GENERAL  DIRECTIONS  FOR  WORKING  ROLLERS. 

ILwixG  cast  three  or  four  rollers  for  each  press,  we  select  two 
of  them  for  immediate  use,  whicli  are  put  into  the  roller  frame 
for  working.  To  determine  when  a  roller  is  in  order  for  work- 
ing, we  press  the  hand  gently  to  it,  to  discover  whether  it  is 
adhesive  or  not,  if  so,  and  the  fingers  can  be  drawn  lightly  and 
smoothly  over  its  surface,  it  may  then  be  said  to  be  in  order; 
but  should  it  be  adhesive,  and  the  fingers  will  not  glide  smoothly 
over  its  surface,  it  is  then  not  sufficiently  dry,  and  should  be 
exposed  to  the  air  until  it  possesses  the  above  qualities :  a  roller 
well  washed  at  night,  and  put  into  an  air-tight  box  till  morning, 
will  generally  be  found  in  good  order  for  working.  For  that 
purpose,  eveiy  press-room  should  be  furnished  with  a  large  up 
right  box  or  closet  of  sufficient  size  to  contain  all  the  rollers  in 
a  horizontal  position,  their  journals  resting  on  siip|)orters  at  the 
end  of  the  box. 

To  wash  the  rollers,  nothing  more  is  requisite  than  the  appli 
cation  of  water,  after  rolling  them  in  the  dust;  in  cold  weather 
a  little  warmed,  but  cold  as  possible  in  warm  weather,  which 
needs  onlv  to  be  us^d  with  the  hand  or  a  sponge;  some  press- 
men, however,  prefer  washing  them  v/ith  ley,  atV'r  which  they 
should  be  well  rinsed  v;ilh  clean  water. 

In  very  warm  weather,  the  rollers  should  be  oocasionalJy 
clianged.  to  prevent  them  froiii  getting  too  soft,  or  from  melt- 
ing; it  is  frequently  found  when  a  roller  is  sick,  or  soft,  or  you 
do  not  know  what  is  its  ailment,  that  washing  it  clean,  and 
hans'ing  it  to  rest  for  a  time,  restores  it  to  as  good  a  state  as 
ever,  but  it  should  not  be  washed  till  after  it  has  eool.-d  a  little, 
as  the  cold  water  lias  a  tendency  to  Vv-rinkle  it  verv  much  when 


2o6  TYPOGRAPHIA. 

uver-heated.  Great  rare  should  also  be  taken  to  keep  then? 
from  the  effects  of  the  sun,  as  they  are  easily  mehed,  and  in 
warm  weather  they  should  be  kept  in  as  cool  a  place  as  possible 
during  the  night.  Should  any  accident  happen  to  the  roller,  to 
injure  its  surface,  it  mav  be  melted  again  and  re-raoulded  as 
before. 

Since  the  introduction  of  composition,  a  great  annual  expense 
is  saved  in  skins  and  wool,  and  a  vast  deal  of  the  precious  time 
of  the  men.  Upon  the  introduction  of  the  balls,  it  was  calcu- 
lated that  the  saving  to  each  man  was  a  half  a  day  in  a  week; 
and  we  conceive  that  still  more  is  saved  by  the  rollers.  But 
what  is  above  every  other  consideration,  the  quality  of  the  work 
is  materially  improved,  and  the  labor  is  reduced  to  compara- 
tive ease  by  rolling  over  a  form  instead  of  beating  it. 

It  is  curious  to  contemplate  the  various  changes  which  have 
taken  place  in  a  press-room,  as  far  as  regards  manual  labor, 
within  a  very  kw  years.  Previous  to  the  introduction  of  the 
iron  presses,  the  beating  Avas  the  lighter  labor,  and  puUinir  the 
heavier;  to  the  latter  of  which  an  apprentice  was  seldom  put, 
except  for  very  light  work,  for  the  first  twelve  months.  Then 
pulling  became  the  lighter — the  stronger  beat,  and  the  weaker 
pulled.  But  when  the  rollers  were  introduced,  the  stronger 
agam  took  the  bar,  and  the  weaker  rolled:  and  a  welfgrown 
lad  was  capable  of  taking  both  parts  in  the  first  month  of  his 
servire.  The  pulling  is  now  tlm  onlv  iianl  labor,  the  rolling 
requiring  onlv  a  duo  dr^o-ice  of  adroitnf-ss  and  attention. 

About  twelve  vears  since,  a  machine  was  introduced  to  sup 
plv  the  place  of  a  boy  in  rolling  the  firm.  &.c.  which  v.-as  acted 
upon  bv  Avei^hls  and  sprinirs  wound  up  by  the  running  in  (>!' 
the  bed;  this  machine  pfrforuir'd  thf  various  ofnc^-s  of  rolling. 
takin:,^  ink,  aiid  di-trihuiincr.  but  owinj  to  its  coniplicat<rd  nm 
.'-iruction,  was  vrrv  iiat  It-  to  get  out  of  order.  Within  a  few 
vear'^,  however,  various  iinprovements  have  been  n^ade  upon 
thf  !n,  and    tlicir  construction   much  siiuoliiied. 


CHAPTER  X. 

IMPROVED  PRESSES. 

Among  ihe  various  iinprovemr;nts  which  have  taken  place  in 
iiiany  branches  of  our  Art.  wp  conceive  that  none  have  tended 
more  tu  llie  advancement  of  beauty  in  execution,  and  the  com 
fori  and  convenience  of  the  workman,  than  the  improved  presses 
ol  trif  present  day. 


THE  COLUMBIAN  PRESS, 


The  press  tlms  called  ■\va';  inv^Mited  b-,-  .Mi-.  (.4eorcji^  (Jlvmer,  of 
Philadelphia,  about  thirty  years  since,  antl  made  thr^  subject 
of  a  patent;  shortly  after  its  invention,  Mr.  Clynier  proceeded 
to  Europe,  where  he  introduced  them  to  the  notice  of  the  pro- 
fession in  181 '*.  i^reatly  improved  in  their  manufacture. 

Tn  'V  wer"^  heki  in  hiijli  estimation  in  F.urope,  and  are  stil! 
ill  use  tliere;  but  in  this  country  they  have  b^en  supercr-ded  hv 
tiie  simpliciiv,  lightness,  and  cheapness  of  tlu'  WasliitiiTtou 
Press. 


268 


TYPOORAPIIIA. 


THE  WASIIIXriTOX   PRESS 

Was  invented  by  Mr.  Samuel  Fvust,  of  Xew  York,  to  -whose 
ingenuity  and  skill  we  are  indebted  for  a  valuable  combination 
of  levers.  They  are  manufactured  by  Messrs.  Iloe  &  Co.,  of 
New  York.  The  frame  represented  in  the  engraving  is  an 
essential  impru\"emont  on  the  old  cast-iron  rims  ;  tlie  columns 
at  the  sides  of  the  press  are  cast-iron  hollow  cylinders,  witl) 
wrouglit  iron  liars  running  perpendicularly  through  tliem, 
which  are  attaclied  to  the  head  and  winter  of  the  press,  ren- 
(hjring  the  frame  less  liable  to  be  liroken,  more  portable,  and 
certainly  much  neater  in  appearance. 


'I'lIH    SMITH    ]M!ESS. 

Tins  press  was    invented  by  Mr.  Peter  Smith,  of  Now  York, 
and  is  manufactured  liy  Hue  it  Co. 

The  only  difference  bi'iweeii  this  and  the  Washington,  and 
other  ]iresses,  is  th(!  a])plication  of  tlie  wedge-power  between 
the  toggles.  Tliey  ai-e  imt  cou-^i Jo'cd  as  jiowerful  as  tlie 
W;ishin<rton  Pre^s  hv  tln'  same  makers. 


TYPOGRAPIIIA.  269 


xMACIIINE   nilNTING. 

The  first  cylinder  press  was  invented  in  England  about  the 
year  1814,  and  caused  a  great  revolution  in  the  art  from  the 
facilities  which  it  aiforded  for  printing  sheets  of  paper  which 
could  not  be  worked  on  a  hand-press  ;  thus  enabling  proprietors 
of  newspapers  to  enlarge  them  to  a  previously  unparalleled 
extent,  or  to  afford  them  at  prices  so  greatly  reduced  as  to  en- 
large their  circulation  to  an  almost  fobulous  number.  By  suc- 
cessive improvements  and  discoveries,  power-presses  have  been 
80  far  perfected  as  to  permit  their  application  to  the  finest 
doscz'iption  of  book-work. 

The  most  celebrated  cylinder  press  is  IIoo's  Eight-Cylinder 
Type-Revolving  Machine,  which  is  said  to  be  capable  of  throw- 
ing ofi"  20,000  impressions  per  hour.  A  peculiarity  of  this 
press  is,  that  each  page  of  a  newspaper  is  locked  up  upon  a 
detached  segment  of  the  large  cylinder,  called  by  the  composi- 
tors a  "turtle;"'  and  this  constitutes  the  bod  and  chase.  The 
column  rules  run  parallel  with  the  shafts  of  the  cylinder,  and 
are  consequently  straight ;  wliile  the  head,  advertising,  and 
dash  rules  are  in  the  form  of  segments  of  a  (nrcle.  Eiglit  j.m.t- 
sons  are  re([uircd  to  feed  in  the  sheets,  which  are  thrown  out 
and  laid  in  heaps  by  self-acting  flyers. 

A  similar  machine,  with  four  impression-cylinders,  capable 
of  printing  10,000  impressions  per  hour,  is  also  manufactured 
at  the  same  establishment.  One  of  these  has  been  recently 
introduced  into  England. 

The  cut  on  the  following  page  represents  Iloe's  Single  Small 
Cylinder  Press.  It  will  give  from  2000  to  3000  impressions 
per  hour. 

The  best  power-press  for  book-work  is  that  invented  and 
made  by  Isaac  Adams  &  Co.,  of  Boston.  So  excellent  is  its 
performance,  that  in  every  extensive  printing-establishment  it 
has  almost  tmtiroly  superseded  the  l)and-])ress.  This  press 
has  also,  we  believe,  been  introduced  into  (ireat  Britain.  We 
give  a  rr]n'(>sentatioii  of  it  on  page  271, 


:7u 


1>71 


272 


TYPOfWtAPlIIA. 


^^lACIIIXK  .7015  PRESSES. 
IxvE.VTiox  lias  also  lieon  active  in  proJueing  maclilnps  for 
fine  and  expeditioxis  card  and  job  printing.  Of  these  we  may 
mention  those  of  Rugjrlos.  Hue,  Adams,  Gordon,  and  Lawyer. 
Some  of  these,  it  is  assorted,  will  print  at  the  rate  of  from  1000 
to  3000  impressions  an  hour.     AVe  give  engravings  of  two. 


iiVC'.ii.-j.Ti  (.-.o  :.::;:.  vnoT-7   P-Hess 


CHAPTER  XL 

WAREHOUSE  DEPARTMENT. 

The  warehouse  department  of  a  printer  is  a  highly  miportaiit 
part  of  his  concern  ;  the  management  of  which  involv^es  his  own 
credit,  and  materially  affects  the  interest  of  his  employers :  it  is 
therefore  indispensably  necessary  to  appoint  a  man  for  the 
management  of  it,  who  has  been  regularly  brought  up  to  the 
business;  on  whom  the  utmost  reliance  may  be  placed  for  so- 
briety and  honesty,  and  who  can  be  taught  to  feel  and  act  upon 
the  principle  of  making  his  employer's  interest  the  object  of  his 
constant  sohcitude.  Those  who  have  not  such  qualifications 
will  be  continually  liable,  through  ignorance  and  carelessness, 
to  fall, into  many  serious  mistakes.  The  employer  or  overseer 
should  frequently  look  to  the  concerns  of  the  warehouse,  and 
see  that  the  people  employed  there,  forward  the  different  works 
with  expedition,  neatness,  and  accuracy. 

Having  made  these  observations,  we  shall  now  proceed  to 
speak  of  the  different  stages  of  this  department,  and  begin  by 
supposing  the  warehouse  to  be  quite  clear,  business  coming  in, 
and  the  warehouseman  just  entering  upon  his  office.  He 
should  first  be  provided  with  a  book,  which  is  termed  "  The 
Warthonse  Book,^'  agreeable  to  the  plan  in  the  following  page, 
about  the  size  of  a  foolscap  quarto.  When  the  porter  or  car- 
man brings  paper  from  the  stationer  or  bookseller,  the  ware- 
houseman should  demand  the  bill  of  delivery,  order  the  paper 
to  be  brought  in,  and  see  if  it  is  right  according  to  the  bill,  be- 
fore he  discharges  him;  and  if  right,  dismiss  him,  and  enter  it 
immediately  into  the  warehouse  book. 

This  plan  will  prevent  disputes  with  the  bookseller  or  author, 
relative  to  the  receipt  of  paper,  or  d(>livery  of  sheets,  as  the  sig- 
nature of  the  person  to  whom  the  sheets  were  delivered  can  be 


274 

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TYPOGRAPHIA.  275 

immediately  produced.  It  also  enables  the  warehouseman  to 
distinguish,  with  more  ease,  the  different  articles  he  might  have 
occasion  to  refer  to. 

Having  entered  the  receipt  of  the  paper,  the  warehouseman 
should  then  write  on  each  bundle,  with  red  chalk,  the  title  of 
the  book  it  is  intended  for,  and  remove  it  into  a  part  of  the 
warehouse  most  out  of  his  way,  or  into  a  store-room  for  that 
purpose,  observing  to  place  it  so  as  to  take  up  as  little  room  as 
possible. 


OF  GIVING  OUT  PAPER  TO  WET. 

A  bundle  of  paper  contains  two  reams,  or  forty  quires,  and 
twenty-four  sheets  to  each  quire,  if  perfect;  if  not,  twenty 
quires  to  the  ream,  of  which  the  two  outside  quires  are  called 
carded  or  cassie,  as  they  only  serve  for  cases  to  the  ream.  These 
outside  quires  are  by  the  paper  maker  made  up  of  wrinkled, 
torn,  stained,  and  other  damaged  sheets,  yet  the  whole  quire 
very  rarely  consists  of  such  sheets;  but  frequently  some  good 
sheets  may  be  found  in  looking  them  over.  It  is  the  ware- 
houseman's business  to  lay  by  the  two  outside  quires,  and  cull 
them  when  most  convenient;  likewise  so  to  dispose  of  them, 
that  they  may  neither  be  at  the  beginning  nor  end,  but  about 
the  middle  of  the  volume,  or  use  them  for  jobs  or  proof  paper; 
for  they  are  seldom  so  perfect  as  the  inside  quires. 

It  is  tlie  general  custom  to  print  of  every  work  what  is  termed 
an  even  number,  either  250,  500,  750,  1000,  Sec.  These  quan- 
tities are  given  out  for  the  wetter  in  tokens,  viz.  for  250  (sheets) 
one  token,  containing  10  quires  18  sheets;  for  500,  two  tokens 
— one  11  quires,  and  the  other  10  quire*  and  a  half;  for  75iX 
tiiree  tokens,  two  of  them  11  quires  each,  and  the  other  10 
quires  6  sheets;  and  for  1000,  four  tokens,  three  of  lhf>m  11 
quires  each,  and  the  other  10  quires.  If  a  work  is  printed  in 
half-sheets,  it  of  course  requires  only  half  the  above  quantities. 

It  would  be  ditlicult  to  form  aiiv  positive  and  invariabl"  rule 
for  the  quantity  to  be  given  out  for  short  numbers,  ri<  it  nmst 
depend,  in  some  (li'greo.  U[Kiii  the  quahty  oC  thi^  pap-T.  The 
more  expen:>ive  papers,  on  wiiiru.  ^^nu'railv.  ^h   rt  nuaiijers  ot 


276  TYTOGRAPHIA. 

fiae  copies  are  printed,  must  be  given  out  more  sparingly  tlian 
common  paper;  and  tlie  tympan  and  register  sheets  be  sup- 
plied by  a  more  common  sort,  cut  to  the  size  of  the  finer. 

For  numbers  up  to  150,  on  ordinary  paper,  six  sheets  over. 
will,  generally  speaking,  be  necessary :  the  warehouseman 
always  bearing  in  mind  to  reckon  for  each  25,  so  many  quires 
of  24  sheets,  and  the  same  number  of  sheets  in  the  first  instance, 
and  then  to  add  the  necessary  overplus. 

In  giving  out  paper  for  what  are  termed  jobs,  a  little  further 
observation  will  be  necessary.  It  has  been  usual  to  give  tables 
for  this  purpose,  but  we  have  not  been  convinced  of  its  utility, 
as  few  pnntfTS  would  r^fer  to  a  book  for  such  calculations  on 
evpry  occasion,  when  they  could  be  so  easily  made  by  a  simple 
calculation  in  division. 

For  example,  a  job,   (label  or  any  thing  else)  750  number, 

32)750(23     32  on  a  sheet,  will  require  24  sheets,  which  will 

&i  give  an   overplus  of   18.     If  this   is    not   thought 

sufficient,  a  remnant  or  sheet  more  must  be  given 

110  out,  calculating  that  where  a   shoet    has  to  be  cut 

96  into   many  parts,  some  further  allowance  must  be 

— —  made    for  accidents.     The   civerplus   sheets   being 

14  partly  allowed  for   tympan  sheets,  register  sheets, 

and   otlKT   incidents;  such  as  bad   sheets,   faults  committed  in 

rolling',  pullincr,    bad    ren;i-;tpr,  &.C.;    in   anv  of  these  casualties, 

the  pressman  douhk'S  the  slipc^  in  the  middle,  and  lays  it  across 

tlie  lifnp.      In    sr-tling  out  the   papr-r.    the  warphousernan    lavs 

»-ach  token  with  the  J'olded  side,  or  !)ack  pari,  one  wav,  and  the 

nthf-r  trikr-n  with   tlie   fokk-d.   or  back  side,  the  other  way,  that 

the  wett'T  may  distinguish    the  different  tokens.     "When  this  is 

doup,  1k'  writ'/s  a  label,  and  puts  it  into  the  bundle,  thus:  Typo- 

i^-(ij)liia.  M(vi  25,  1S')7,  that  thf  jir^ssman  may  know  how  long 

it  has  been  wet,  and  the  stat^  it  is  in  for  \vork;ng. 


OF  1IAX(;IXG  UP  PAPEIl  TO  DllY. 
Whl.v   ih:-'    pap'^-r    is  worked   off  and   pountfd.  the  warehouse- 
man take-  til"    h' ap  anj   carri'-s  it  to  tli"  drying  room,  wiiere 
polr-s   arc  five,]   f. ,!■  t'lK-    [lurpnsc  (if  hanging  the  sheets  upon  to 
drv,  and   1,  vs   it  down   on  a   stool,    or  table,  of  a  convpnient 


TYPOGRAPHIA.  277 

height,  with  one  end  oi'  the  lieap  from  him;  he  then  takes  the 
handle  of  the  peel  in  one  hand,  and  lays  tlie  top  part  down 
upon  the  heap,  so  that  the  upper  edge  may  reach  near  the  mid- 
dle of  tht  sheet;  after  wliich,  with  the  other  hand,  he  doubles 
over  so  much  of  the  printed  paper  as  he  thinks  sufficient  to 
liang  up  at  one  lift,  which  should  be  about  seventeen  sheets,  as 
near  as  he  can  guess,  or  twelve,  Sec.  as  he  can  allow  time  to 
dry,  or  Imve  pole-room  to  hang  them  on. 

In  hanging  up  the  lifts,  lie  places  them  so  that  each  lift  may 
lap  about  an  inch  over  the  preceding  one,  till  he  has  disposed 
of  all  the  paper,  or  until  he  comes  to  the  end  of  the  pole.  It 
vvill  sometimes  be  necessary,  where  the  end  of  a  pole  is  ex- 
posed to  any  strong  current  of  air,  as  a  window.  Sec.  to  lock 
the  last  lift.  This  is  done  by  folding  a  lift  two  or  three  times, 
so  as  to  concentrate  its  weight  in  a  small  compass,  and  hang- 
ing this  over  the  last  lift  near  the  window,  it  will  generally 
prevent  the  air  taking  the  sheets  off  the  poles. 


OF  TAKIXG  DOWX  SHEETS  WHEN  DRY. 

When  the  sheets  are  sufficiently  dry,  the  warehouseman  takes 
his  peel,  and  begins  with  the  last  hft  hung  up,  on  account  of 
the  wrapper  being  with  that  lift,  and  continues  to  proceed  to 
the  other,  in  the  reverse  order  to  that  of  hanging  them  up,  sue 
cessively  taking  them  down  and  brushing  them,  if  dusty,  till  he 
has  finished  the  whole;  taking  care  that  he  lays  the  single  sig- 
nature of  each  lift  one  over  the  other;  if  this  is  not  done,  it  will 
occasion  considerable  trouble  to  turn  th(>m  when  they  are  to  be 
folded. 

There  is  also  another  way  of  taking  the  sheets  down  from 
the  poles,  which  is,  bv  laving  the  flat  side  of  the  prcl  against 
tht'  edrfi^  of  that  lift  which  hangs  over  tlie  ollirr  sheets,  and 
jmshina'  the  peel  forward,  forcing  thetn  to  slide,  one  doublinsf 
ovt^r  the  other,  and  so  finishing  the  business  witli  more  expedi- 
tion. r>nt  this  meiliod  cannot  be  recommended,  because  tli'' 
dust,  whicli  flies  about  whilf^  tlie  she<'!s  arf'  hnnc'inir.  nni-t 
lod<ze  on  tliem.  and  bv  pushinfj  them  forv>-ard,  is  rubhn'  in,  in- 
stead of  beinir  lirushed  off. 


278  TYPOGRAPIIIA. 

OF  FILLING  L\  AND  PRESSING  SHEETS. 

When  the  sheets  are  taken  down,  the  warehouseman  remove? 
them  to  the  warehouse,  where  they  are  filled  in  between  smooth 
paste-boards  made  for  the  purpose.  This  operation  is  generally 
performed  by  boys  or  girls,  who,  after  a  little  practice,  become 
exceedingly  expert  at  it.  We  shall  endeavor  to  be  somewhat 
minute  in  our  description  of  this  operation,  as  it  seems  to  have 
been  entirely  overlooked  by  former  writers  on  this  subject;  we 
will  suppose  the  paste-boards  to  have  sheets  between  them, 
which  will  be  the  case  after  they  iiave  been  once  used.  The 
warehouse  being  provided  with  long  tables  or  benches,  secured 
to  the  wall,  and  a  suHicient  number  of  moveable  tables  about 
the  size  of  tlie  largest  paper,  the  warehouseman  places  one  of 
the  small  tables  endwise  against  the  long  one,  forming  a  right 
angle,  and  upon  which  to  lay  the  pressed  sheets,  as  they  come 
out  of  the  boards  ;  the  boy  then  takes  his  stand  at  the  right  side 
of  the  table,  with  the  dry  unpressed  sheets  at  his  right  hand, 
and  the  paste-boards  at  his  left,  somewhat  elevated,  leaving 
sufficient  space  before  liim  to  fill  in  the  sheets;  he  then  pro- 
ceeds as  follows: — He  first  moistens  the  thumb  of  his  right 
hand,  and  reaches  across  to  the  ])aste-boards  at  his  left,  drawing 
one  off  with  his  thumb,  and  placing  it  before  him;  he  then 
catelies  a  sheet  of  the  dry  paper  also  with  his  right  hand,  and 
places  it  as  near  the  centre  of  the  paste  board  as  possible,  then 
twisting  liis  body  nimhlv  round  to  the  left,  he  slidi'S  the  pressi^d 
shf'tn  from  the  pile  of  {lastc-hoards,  to  the  table  at  his  left  side, 
and  in  resuming  lus  former  position,  agaui  draws  oil  a  paste- 
liriarti  with  his  thumb,  and  so  on,  till  the  gross  or  bundle  is 
(illed.  It  is  then  laid  u^id",  and  anntlmr  bundle  fdled  and  laid 
across  tb.e  former,  takinir  care  always  to  keep  the  bundles  sepa- 
rated until  they  ar(>  j)ut  in  pre<s,  wiicn  tiicy  are  separated  b\ 
smooth  boards  made  of  cb.erry  or  other  hard  wood.  The  bun- 
dies  },ii\\'j:  all  filled  in,  tin'  warehouseman  then  jirocemls  to  fiL 
up  the  standinir  [tress,  imtliiig  in  one  bundle  at  a  lime,  ana 
placincr  a  pressinir  board  between  them;  there  should  also  be  a 
stout  i)lank  introduced  between  the  top  board  and  the  plntr-n. 
In  case  the   ])ress   shoidd  not   hold  quite  as    much  as  we  wish, 


TYPOGRAPHIA.  279 

more  may  sometim;/s  be  added  by  unscrewing  the  press,  after 
it  has  been  once  screwed  down,  which  so  compresses  the  bun- 
dles, that  one  or  two  more  may  often  be  admitted.  The  press 
is  then  fmallv  screwed  down  as  tight  as  possible,  and  should 
remain  so  for  at  least  twelve  hours,  when  it  should  be  entirely 
emptied  before  the  sheets  are  taken  out  of  the  boards.  In  all 
these  operations,  care  should  be  taken  to  keep  the  sides  of  the 
piles  or  heaps  perfectly  even. 


OF  COUXTIXG  OUT  AXD  PUTTING  BY  SHEETS. 

When-  the  sheets  are  taken  out,  the  warehouseman  knocks 
them  up,  and  after  counting  them  into  quires,  proceeds  to  tie 
them  up  in  wrappers,  marking  the  name  of  the  work  and  sig- 
nature on  each  bundle;  he  then  puts  them  by  in  that  part  of 
the  room  where  they  will  be  most  out  of  his  way,  till  wanted. 
But  two  or  three  sheets  of  each  signature  should  he  put  by,  in 
case  the  author,  bookseller,  or  employer,  should  want  a  copy 
of  the  work,  or  a  specimen  of  as  many  sheets  as  are  finished. 
If  this  has  not  been  done,  and  clean  sheets  should  be  wanted, 
he  would  then  be  obliged  to  lift  every  signature  to  get  a  sheet 
out  of  each,  which  will  occasion  a  great  loss  of  time;  this  may 
easilv  be  prevented  by  reserving  a  few  sheets  as  they  are 
worked  of!'. 


SIZES  OF  PAPER  AS  MADE  BY  MACHIXERY. 

Double  Imperial,  ....  32  by  44. 
Do.  Super  Roval,  .  .  .  27  hv  4-2. 
Do.     Medium,  23  bv  3G— 24  by  37 i— 2*5  !:-  3S. 


Royal  and  Half, 

2.')  bv  29. 

Imperial  and  Half,     . 

20  l)v  32. 

Imperial,  . 

22  bv  32. 

Super  Roval,     . 

21  bV  27. 

U..yal,      ; 

19  by 

24—2;)  bv  25. 

Al'diiim, 

.      lSAbv23^ 

D-'iav.       . 

, 

17bv22. 

F..lio'Post, 

16bv2l. 

V'«>U  (.'ap, 

14  hv  17. 

(.'iijvrn, 

\~j\>V4'J. 

•n' 


280  TYPOGRAPHIA. 

TECHNICAL  TERMS  USED  IN  PRINTING. 

Bank.     A  stage  about  fdur  feet  high,  to  lay  sheets  on  at  press. 

Beard  of  a  letter.  The  outer  angle  of  the  square  shoulder  of 
the  shank  which  reaches  almost  to  the  face  of  the  letter. 

Bearer.  A  piece  of  reglet  to  bear  off  the  impression  from  a 
blank  page. — A  long  piece  of  furniture,  type  high,  used  in 
working  jobs. — A  solid  faced  type  interspersed  in  the  blank 
parts  of  a  page,  in  composing  for  stereotyping,  to  resist  the 
force  of  the  knife  in  shaving  the  plates. 

Bite.  Is  when  the  inked  impression  of  the  page,  or  any  part 
of  it,  is  prevented  by  the  frisket's  not  being  sufficiently  cut  out. 

Blankets.     Woollen  cloth  to  lay  between  the  tympans. 

Body.     The  shank  of  the  letter. 

Boltled-ars'-d.  "Wlien  letter  is  wider  at  the  bottom  than  the  top. 

Brayer.  A  round  wooden  rubber,  flat  at  the  bottom,  used  to 
bray  or  rub  out  the  ink.  Now  substituted  by  a  small  roller 
about  five  inches  long. 

Break.     A  short  line. 

I'roadside.  A  form  of  one  full  page,  printed  on  one  side  of  a 
whole  shfet  of  paper. 

Broken  Matti-r.  "When  the  orderly  succession  in  wliich  the 
letters  stood,  in  a  line,  jiage,  or  form  is  broken  or  mingled  to- 
getlier,  which  mingled  letters  are  called  pi. 

Bur.  Whf-n  liie  founder  has  neglected  to  take  off  the  rough- 
ness of  tiif  li'ti'-r  in  dr's^inic. 

'  'assii'  Pa[)ir.     l>r'ik(  n  paper. 

T'l'-an  Proiif.     AVh'ii  a  proof  has  but  f^w  faults  in  it. 

('lose  mattf  r.     M;itt(  r  witli  few  breaks. 

( 'orrf  ct.  A  cfi;np(-viii)r  is  said  to  correct  u-hr-n  he  mends  the 
fauh';  Hiai-kod  in  a  proof. 

(  '(jrrr'-tioiis.     'i'iif  li-ih-rs  iiiark'-d  in  a  prf-of. 

])i-vil.     'i'i.c  Errand  bi.v  cf  a  Printing  liDU'^e. 

iJciublc.  Annaig  iH;mp(i'-ii(,rs,  a  lepetitKjn  of  words;  also, 
ani(ii;2'  pr''--.'--in(  n,  a  shi'ct  that  is  twice  pulled  and  mackjtjd. 

I'l''  -sin::  a  ( 'JK'.^e  or  Eonn.  'ria:  fii;in2'  th»-  pages  and  cliase 
with  lurniiiir'-  ;uid  quoiii'^. 

Drive  out.      When  a  rijinpij^itor  '^f  ts  Vv'ide. 


TYPOGRAPHIA.  281 

Fdi  face,  or  fat  Letter,  is  a  broad  stemmed  letter. 

Fat  work.     Is  when  there  are  many  break-lines  in  a  work. 

First  Form.     The  form  that  contains  the  first  page  of  a  sheet. 

Fly.  The  person  that  takes  off  the  sheets  from  the  press  in 
cases  of  expedition. 

Form.     The  pages  when  fitted  into  a  chase. 

Foul  Proof.     When  a  proof  has  many  faults  marked  in  it. 

Fount.  The  whole  number  of  types  cast  to  one  body  and  face. 

Friar.     "Where  any  part  of  the  form  has  not  received  the  ink. 

Full  Pres^s.  When  two  men  work  at  the  press  Avith  hand 
rollers  or  balls. 

Get  in.     To  set  close. 

Good  color.     Sheets  printed  neither  too  black  nor  too  light. 

Good  work.  Is  so  called  in  a  two-fold  sense;  the  master 
printer  calls  it  good  work  when  the  compositors  and  pressmen 
have  done  their  duty;  and  the  workmen  call  it  good  work,  if  it 
be  light,  easy  work,  and  they  have  a  good  price  for  it. 

Half  Press.     When  but  one  person  works  at  the  press. 

Hell.  The  receptacle  for  broken  or  battered  letters,  the  old 
metal  box — the  shoe. 

Horse.  The  stage  on  which  pressmen  set  the  heaps  of  paper 
on  their  banks. 

Keep  in.  Is  a  caution  either  given  to,  or  resolved  on,  by  the 
compositor,  where  there  may  be  doubt  of  driving  out  his  matter 
bevond  his  counting  off,  wherefore  he  sets  close,  to  keep  in. 

Keep  out.  A  caution  either  given  to,  or  resolved  on,  by  the 
compositor,  when  there  may  be  doubt  of  getting  in  his  matter 
too  fast,  wherefore  he  sets  wide,  to  drive  or  keep  out. 

Kern  of  a  Letter.     That  part  which  hangs  over  the  body. 

Letter  Hangs.     When  the  page  is  out  of  square. 

Low  Case.  When  the  compositor  has  composed  almost  nil 
the  letters  out  of  his  case. 

Macule.  When  part  of  the  impression  appears  double. 

Matter.     The  series  of  the  discourse  of  the  compositor's  copv. 

Measu;e.     The  width  of  a  pane. 

Monk.     When  thf^  ink  i-^  not  di«tributrd.  or  lies  in  blotches, 

Xak'^d  Form.     V."!u'n  th--   furMilurp   is    taken  from  the  pages. 

ntV.   ^\'h^!l  ihi' pr.';<iiiaii  !i;i- •^v.lrk.'.l  off  the  i!:--i'jii.'d  number. 


282  TYPOGllAPPIIA. 

Out.     When  a  compositor  has  set  all  his  copy. 

Out  of  R.f'O'i-t'-T.     Wh°n  the  pages  do  not  back  each  other. 

Pick.  When  any  dirt  gns  into  the  hollows  of  the  letter, 
M'hich  chok'"'-^  up  thf'  face  of  it,  and  occasions  a  spot. 

P;.     Whf-n  a  pag^  is  broktni,  and  tliT'  Ifit^rs  squabbled. 

Quarters.  Octavos  and  twelv-^s  are  said  to  be  imposed  in 
uiarters,  not  from  their  equal  divisions,  but  because  thev  are 
mposed  and  locked  up  in  I'our  parts. 

Rattinir.     Workins  at  h'ss  than  the  established  prices. 

Register  sheet.     Slieet  or  sheets  printed  to  make  register  with. 

Reiteration.     The  form  printpd  on  the  s^-coad  sidf\ 

Reglet.  Is  a  thin  sort  of  furniture,  of  an  equal  thickness  all 
its  length.     It  is  made  to  the  thickn''^-s  of  type. 

Rise.  A  form  is  said  to  n<''\  when  in  rearing  it  off  the  eor- 
recting  stonp,  no  letf-'r  or  furniture,  &,c.  drop  out. 

Runs  on  sort^.     When  matter  uses  onlv  a  tew  sorts  of  letter. 

Snt  off.  Wlien  sheets  that  are  newly  work''d  ofi",  black  those 
that  come  in  contact  with  them. 

Shank.     Tlu-  square  metal  uj)on  wliich  a  h'tt-'-r  stands. 

Si:T'natur'^.  An\'  letter  of  ili^  alphat)"t  or  li^rure  used  at  the 
nottom  ')f  the  fir-t  pa:ie  of  a  sheet,  as  a  din-i-tion  f'-r  the  l)inders 
b)  pdac;:'  ihe  sheei>  in  a  ^•idume. 

Slur.     When  the  impression  of  llie  sheets  appear  smeared. 

Sm  iu;in:r-     When  either  cunpositors  or  pressmen   are  em 
ploved  U.iT  a  short  time,  and  not  engaged  for  a  constaney. 

S(,rt^.  The  b'tters  tiiat  lie  in  every  box  of  the  case,  are  sepa- 
rat'Iv  enlj.'d  S()rts  in  printers'  and  founders'  language 

S.iuabbie.  A  p^ge  or  forni  is  squabbled  when  the  letter  or 
letter^  are  tv.-i-ted  about  out  of  their  square  positiiin. 

Si-m.     Ttie  straicrht  fiat  strokes  of  a  straight  letter. 

Su[ierior  Letters.  Letters  of  a  small  t"a;'e,  justified  bv  the 
f.inn  !■■!  in  the  nvmld  near  tlie  tijp  of  the  line. 

Turn  f  )i  a  jeuer.  ^N'tuMi  a  sort  run-  short,  a  letter  of  the 
sai:e*  tli!ekne-;s  i^  substituted,  pja'ung  it  bottom  upwards. 

W':,;?"  l;n-'.     A  hue  of  quadrats. 

^\'ilile  pa/e.     A  [)age  tiiat  im  matter  comes  in. 

^\"'li^"■  paper.  Alt'aoun-h  tiie  fir<t  turm  be  [)rinted  oil',  vet  press- 
ni'Ci  eal!  tbat  h>-ap  wiiit-'  pap'T.  till  the  reifration  Itr  prititej. 


TWO    PREMIUMS    AWAHDED    TO    L.  JOHNSON    &    CO.  AT    THE 
CKYSTAL    PALACE    EXHIBITION.  NEW  YORK. 


PHILADELPHIA 


ESTABLISHED    IN    1796. 


T^HIS  establishment,  the  oldest  in  America,  has  kept  pace  with  all  the 
successive  steps  in  the  improvement  of  the  art  of  Type-founding; 
and  its  productions  at  the  present  day,  in  beauty  of  style,  accuracy  of 
standing,  and  durability  of  materials,  are  all  that  skill,  ingenuity,  and 
long  e.xperienee  have  been  able  to  effect.  Neither  pains  nor  expense  i^i 
withheld  to  maintain  its  well-founded  pre-eminence. 

The  Scotch-face  Type, 

Introduced  by  us  several  years  since,  has  come  into  general  use,  and 
by  its  beauty  and  durability  has  won  wide-spread  reputation.  This  type, 
of  all  the  intermediate  sizes  from  Diamond  to  Great  Primer,  we  keep 
on  hand  for  the  prompt  supply  of  orders. 


Broad-face  Type, 


Of  a  most  inviting  appearance,  is  in  hand,  to  wiiicli  we  invite  tho 
attention  of  printers  and  pul^lishers.  Of  this  series,  t!ie  Miiiiun,  Urcvier, 
Bourgeois,  l^ong  Primer,  ."^mall  Pica,  and  Pica  are  I'omplete,  and  ready 
for  casting.  ."Specimen  slicets  will  he  furnished  on  jiersonal  npp'.icatinn, 
or  sent  liv  mail. 


284 

Our  assortment  of 


Fancy  and  Ornamental  Type 

Is,  perhaps,  unrivalled  for  Leauty,  extent,  and  variet}'.  In  this  depart- 
ment, native  and  foreign  genius  and  inventive  skill  are  alike  laid  under 
contribution. 


The  Mufic  Type 


Cast  in  this  foundry  is  without  an  equal  in  America  or  a  superior  in 
the  world.  The  sizes  are  Excelsior  or  half-Xonpareil,  Diamond,  Agate, 
and  Nonpareil. 

Flowers  and  Borders, 

Plain  and  Coloured,  in  large  variety,  from  Agate  up  to  ten-line  Pica. 
CIRCULAR  AND  HOLLOW  QUADRATES,  for  the  easy  formation  ot 
Circles,  Ellipses,  <tc. 

Electrotype   Fac-Similes 

Of  Wood-Cuts,  from  more  than  two  thousand  subjects,  and  many  of 
them  very  fine,  promptly  furnished.  WOOD-CUTS  DESIGNED  AND 
ENGRAVED  to  order. 


Labour-Saving  Rules. 

We  call  special  attention  to  our  Labour-Saving  Pvules,  which  are  cut 
with  extreme  accuracy  to  Pica  ems,  in  pieces  varying  from  1  to  oO  ems 
in  length.  They  m;iy  be  liad  of  Single.  Doulile.  Parallel,  i.r  Dntted 
face.  The  Dottcl  Pule  i~  of  great  advantage  in  bliinks,  itc,  \\hib^  tlio 
fiiriiier  arc  cbieily  doignrd  for  table  and  borilcr-wm-k. 

We  iiiaiiul'ucturc  P.PASS  CIIKT.KS  AND  OVALS,  of  various  sizes 
and  face,  f  .r  Labrl  and  Stamp  liurders  :  and  also  liRASS  or  TYPE- 
METAL  PULES,  nUACKS,  A:c. 


Prefses  and  Ink. 


We  nrc  agents  f  .r  tlie  l>re>--sc-  of  the  nmst  celebrated  n:akers  in  tho 
Unite, I  Statics,  which  we  sell  at  inaniifar>tiircrs'  prices;  as  well  as  for  all 
varieties  and  (mIoui-s  uf  American  and  Foreign  Printing-ink,  Sizes, 
Druiizes,  \'arui-he-.  ic 


285 

Printing  Materials 

Of  all  descriptions  (most  of  which  are  of  our  own  manufacture)  are 
furnished  to  order. 

Complete  Outfits 

For  new  printing-offices,  on  the  largest  or  smallest  available  scale, 
comprising  every  requisite,  from  a  steam-power  press  to  a  bodkin. 

Estimates  given  in  detail  (with  the  cost)  of  all  the  materials  required 
for  a  Newspaper  Office. 

Our  Mitering  Machine 

Will  be  found  a  convenient  article  in  a  printing-office.  By  its  aid,  dia- 
grams can  be  made  of  any  angle,  with  Brass  Rule  or  Border.    Price,  $40. 


Stereotyping. 


AVe  have  great  facilities  for  stereotyping  (in  type-metal  or  copper) 
Books  in  the  various  Languages,  Music,  'Wood-Cuts,  Labels,  Bookbinders' 
Stamps,  &c.  The  immense  number  of  volumes  bearing  our  imprint, 
which  circulate  throughout  the  entire  countrj-,  will  attest  to  our  care  and 
ability  in  this  department.  Type  which  has  been  used  in  stereotyping 
for  sale  at  reduced  prices. 

Printers'  Guide-Books. 

'We  pul'lijh  -1^/'?//)*'.?  Ti/jfogi-aphia,  or  Printer's  Tnntructor—o^  valuable 
manual  for  the  instructiijn  of  apprentices  and  learners,  and  a  timely 
assistant  in  the  general  management  of  a  printing-office.  Price,  $1;  or, 
sent  by  mail,  postage  paid,  $1.1.3. 

We  furnish  Wilson's  ailmirablo  Treatise  on  English  Punctuation,  &o 
on  the  same  terms. 

Minor  Specimen  Book. 

Our  unique  and  beautiful  Minor  Specimen  Book  will  be  sent  to  ail 
printers  wishing  to  make  orders.  As  it  is  too  large  to  be  sent  by  mail, 
they  will  instruct  us  how  to  forward  it  to  them. 

Orders  attended  to  promptly,  and  inquiries  courte^jusly  answered. 

,..m„v.„v,     ^  L.  JOHXSOX  .i-  Co. 

';fsMiTi''4  ^"-^  Sanfom  Street, 

R.  SMITH,  !  FHILADEI  PHI.-S 


TABLE  OP  PROPORTIONS  OF  TYPE. 


Diar.1. 

Pearl. 

Agato. 

.'VoDpa. 

Miaion 

.  Br.-v, 

Brur^. 

LP™, 

,  S.Pica. 

Pii-a. 

Eiidbh. 

(ir.  Prim. 

1 

2 
8 

6 
6 

1 

3 
4 

1 
•j 

4 

1 

4 

1 

2 

1 
8 

1' 

2 

3 

1 
2 

3 

1 

2 
0 

1 

2 

1 

2 

1 

9 

8 
S 
10 
1 
2 

6 

8 
9 

10 

6 
0 

]0 

5 

() 

.S 

5 

7 

4 
•5 

4 

5 
0 

4 
5 

0 
4 
0 

b 

4 

3 
i 

3 

3 
4 

6 
8 

2 

3 

_     i 

1 
3 

TO 
11 

s 
0 

7 

8 

/ 

8 

6 
7 

6 

5 

G_ 

0 

4 

7— 

e 

9 

so 

6 

4 

14 

-lo- 
ll 
1  2 

10 
]  1 

10 

9 

8 

7 

~  G" 

5 

1 

9 

20 

S 

1  3 

12 

n 

10 

9 

8 

7 

6 

3 
4 

1 

"ii 

IT 

11 

18 

12 

11 

10 

U 

8 

6 
6 

3 
4 

"l 

1^ 

15 

In 

14 
1") 

13 
14 

12 

11 

10 

1) 

7 

1 

f, 

3 
4 

■21 

ir 
1< 

17 

1.3 
li'. 

lo 
14 

12 
13 

11 

10 

8 

.1 

4 — 

^', 

n 

_^4_ 

I'J 

_1^- 

_17_ 

_lo_ 

-14- 

12 

-11- 

-  9 

V: 

'  I 

4 
6 

3'i 
1 

•1 

5 

21 

21 

lit 

20 

21 
.1.1 

lij 
17 
1^ 
10 

lo 
10 
17 

13 
14 
10 
10 
17 

12 
18 
11 

10 
11 

J^ 

in 
I 

<" 

IT 

21 

24 

2iJ 
21 

10 

15 

12 

J 

a 

Q 

4,1 

I'O 

n- 

«•> 

.).) 

0(| 
-21- 

IS 

K) 

13 

i  — 

—    ,"' — 

—     I— _ 

—    '..- 

— ,*'  1'  — 

—  ^     — 

—  _-'  '  — 

— ' '^ 1  — 

1  (  I 

~17~ 

.f 

7 

.'i 

:;^ 

:.l 

ll'' 

27 

24 

.!•) 

10 

14 

9 

4 

4'i 

i'- 

r,!) 

■'S 

2-3 

2;i 

2n 

IS 

15 

5 

"l 

7 

41 

4-J 

:!1 

Ml 

.';m 

20 

24 

21 

19 

1 

4 

'  1 

4:-; 
4:, 

'.'■b 

:;l 

27 

2^ 

2.") 
20 

9  ''\ 

20 

K) 

■- 

1 

'. '.  0 
4  1 

'J  t 

34 

20 
3(1 
31 

27 
20 

1-i 

24 

~2-r 

21 
-22- 

17 
-18 

4 

'■) 

f,'i 
1 

.'4 

42 

40 
41 
42 

4n 

3"' 
•  J  ■ ) 
34 
3.) 

30 
31 

20 

27 

2S 

21 
2.') 

li» 
20 

4 

1 

4 

:> 

47 

4:; 
4  1 
47, 

41 
42 

■  i.; 

30 

3  1 

■  J- J 

34 

20 

2(; 

21 

7 

~  -i~ 

,  1 

-4'i"- 

ii 

) 

-.,.)— 

~3  I"" 

~2'S~ 

'"  "^ 

': 

'" 

\  7 

;■ ) 

." ' !  * 

3,1  i 

■  ■  ■) 

•^<» 

23 

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